scholarly journals “En komponerende Dame”. Modtagelsen af Nancy Dalbergs musik i samtiden

2014 ◽  
Vol 45 ◽  
Author(s):  
Lisbeth Ahlgren Jensen
Keyword(s):  
Chamber Music ◽  
Women Artists ◽  
Large Scale ◽  
Musical Language ◽  
Music Criticism ◽  
Musical Life ◽  
Sexual Ideology ◽  
Orchestral Works ◽  
The One ◽  
In The Beginning

The article takes the form of an examination of the newspaper reviews of the first performances of Nancy Dalberg’s compositions in the years 1915 to 1937. In doing so, the aim was to find out why on the one hand she was considered one of her time’s foremost female composers but on the other hand has almost completely vanished from view in subsequent musical life. Newspaper reviewers generally devoted her great attention and in the beginning offered constructive criticism, considering her both talented and skilled in composition. But when in 1918 she offered herself as a symphonic composer, the critical tone became sharper, even though there was amazement that a woman should try her strength with such a prestigious musical genre as the symphony. However, lack of performance opportunities meant that she ceased to express herself in large-scale orchestral works but concentrated on composing chamber music and songs. The criticism of the songs in particular reveals an expectation that as a woman she should be expressing herself in a particularly feminine musical language, with an emphasis on the emotional and singable, but as she did nothing to meet these expectations, she was subjected to a rough ride. Close reading of newspaper critics shows that it was acceptable in society for a woman to manifest herself as an artist but that she was expected to express herself in a particular way which would not assail the prevailing conception of femininity. In other words, music criticism was characterised by a sexual ideology which prevented it from evaluating Nancy Dalberg’s compositions objectively. As a result her creative efforts were not taken seriously and gradually she lost the confidence to present herself as a composer. Apparently value-neutral criticism thus proves to be both a communicator of sexual ideology and responsible for maintaining a particular view of women artists.

scholarly journals “Unexpectedly British”: accentuation of THE nationally English in Edward Elgar’s “Fa lstaff”

2021 ◽  
Vol 24 (24) ◽  
pp. 37-53
Author(s):  
Lysychka Oleksandr
Keyword(s):  
Large Scale ◽  
Musical Language ◽  
Linear Type ◽  
Dramatic Works ◽  
National Tradition ◽  
Henry Iv ◽  
Musical Thinking ◽  
The One ◽  
In The Beginning ◽  
First Time

Statement of the problem. The relevance of the article lies in revealing the peculiarities of the composer’s way of appeal to the national cultural heritage. The aim of the study is to determine the principles of embodiment of “the nationally English” in the symphonic etude “Falstaff” by Edward Elgar. The main method of the research is drawing parallels, on the one hand, and between the embodiment of the English national character through the image of Falstaff in musical and dramatic works, on the other. Research results. A conclusion is made that the main factor creating strong ties between the “symphonic etude” and the national tradition is spectacular national characterisation. Moreover, for the sake of applying the “English” the composer consciously and significantly changes his musical language. The author turns to very detailed programme (unlike general type of programness in most of his works), and that allows him to scrupulously depict the plot of Shakespeare’s chronicle on which he focuses on. Elgar also portrays overtly humoristic situations, for the first time in his symphonic works, because it would be impossible to disregard this side of Falstaff’s character, as it is the contrast of comical in the beginning and solemn in the denouement that create the tragic effect. The structural side of the composition is also unprecedented as it is formally has one movement, but the composer himself divides it in four parts (ignoring the arrangement of events in “Henry IV” in two parts) while all the parts are connected in various ways. As a result of this, “Falstaff” becomes the longest single-movement symphonic composition of Elgar. The composer favours linear type of musical thinking, integrating it with sudden “flashes” of thematically significant elements in different strata of the texture, and this all combined provides completely lush, unpredictable sonority of the orchestra. On the top of this, the author extensively uses themes with obvious genre genesis, especially in order to depict Shallow’s Gardens, although it is possible to find more traditional for Elgar passages with generalised type of intonation. Such characteristic for Elgar principles, as multi-thematism and elusion of the tonal centralisation (while using quite traditional chords in every given moment) find their new meaning regarding illustrative role of the music. A conclusion is made that the “Britishness” of the symphonic etude lies not in the use of folk intonations or allusions to the past of professional music, but in meticulous attention to W. Shakespeare’s text: both on levels of portraying or interaction between the “characters” and form-creating according to the scenes. Despite the fact that E. Elgar’s musical language seems to be quite distant from Falstaff’s comical essence, the composer was able to find means adequate to the character’s image, such as “wandering” tonal structure; superficial, but rather important analogy between quite large scale of a single-movement work and Falstaff’s body image; narrative orchestration.

Giovanni Gabrieli

Music ◽  
2017 ◽  
Author(s):  
David Bryant
Keyword(s):  
Large Scale ◽  
Close Contact ◽  
Musical Composition ◽  
Musical Life ◽  
Instrument Making ◽  
Music Printing ◽  
Musical Tradition ◽  
Significant Research ◽  
The Many ◽  
The One

Giovanni Gabrieli (b. c. 1554/7–d. 1612) is generally regarded as the supreme representative of large-scale Venetian ceremonial music for voices and/or instruments during the late 16th and early 17th centuries, and was also one of the most celebrated keyboard players of his day, occupying the role of organist at the Venetian ducal chapel from 1585 until his death. Foremost among his teachers and mentors was undoubtedly his uncle Andrea Gabrieli, likewise organist at St Mark’s; he was also in close contact with Orlando di Lasso during his period of service to Duke Albrecht V of Bavaria between 1574 and 1579. Perhaps due to the elitist, exclusive nature of his service to the Venetian state, the bulk of his large-scale ceremonial music was printed in a limited number of monumental retrospective editions, published in 1587 (Concerti di Andrea, & di Gio. Gabrieli, 6–16 voices), 1597 (Sacrae symphoniae, 6–16 voices), and posthumously in 1615 (Symphoniae sacrae [. . .] liber secundus, 6–19 voices; Canzoni et sonate, 3–22 voices). Heir to the 16th-century Venetian musical tradition (as testified by his work as editor of Andrea’s unpublished materials), his memory was by no means obscured by Claudio Monteverdi’s subsequent thirty-year tenure as maestro di cappella. Gabrieli’s compositions circulated widely in northern and central Europe, where their popularity was perhaps furthered by his many pupils (among them Melchior Borchgrevinck, Hans Nielsen, Mogens Pedersøn, Alessandro Tadei, Christoph Cornet, Christoph Kegel, Johann Grabbe, Christoph Clemsee, and the celebrated Heinrich Schütz, all sent to Venice at the expense of their courtly patrons); the many surviving manuscript sources are probably but a fragment of what originally existed. Though few Italians can be unequivocally identified as pupils of Gabrieli, his works are known to have been frequently cited, paraphrased, or reworked by younger northern Italian (above all, Venetian) composers. In general, knowledge of Gabrieli and his milieu has much improved in recent decades, thanks to significant research not only on his biography, his works, and their sources, and the immediate context of his activities at St. Mark’s, but also on the social and economic aspects of daily musical life in what was one of the largest, richest, and most commercially oriented cities on the Italian peninsula. The Venetian musical phenomenon includes, on the one hand, regular or occasional musical activities in the city’s many churches and private palaces (which, together, provided significant earnings for large numbers of musicians, whether or not salaried members of the ducal cappella) and, on the other, the auxiliary trades of music printing and instrument making. Central, too, has been the question of Gabrieli’s and his contemporaries’ music as sound, in terms of both the particular interaction among musical composition, performing forces, space, and the specific liturgical and ceremonial requirements of the Venetian ducal basilica (a question which has engaged generations of researchers) and with regard to the performance of polychoral (and non-polychoral) music elsewhere in the city.

scholarly journals Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher

2018 ◽  
Vol 18 (1) ◽  
pp. 190-206
Author(s):  
Dalia Rusu-Persic
Keyword(s):  
Critical Phenomenon ◽  
Music History ◽  
Critical Reception ◽  
Musical Language ◽  
Music Criticism ◽  
The Press ◽  
Analytical Perspective ◽  
New Perspective ◽  
The One ◽  
Shed Light

Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the personalities active in the cultural and artistic life were real and unrelenting, their results being guided by the desire to promote music with specific national traits. This study provides an analytical perspective on the current reception of that social-artistic context. Taking into account that new sources have favored a more detailed and profound investigation of the 19th-century critical phenomenon, our analysis supplements the information presented in the music history studies already published in Romania. Consequently, the first section of this paper approaches the extremely dynamic phenomenon represented by the creation of new journals / newspapers in the 19th century. It is our belief that starting from general journalism we can acquire a better understanding of the development of musical criticism. This research aimed to discover new dimensions of Iași-based music, placing special emphasis on the critical reception of the composer Alexandru Flechtenmacher. We have followed its reflection in the Romanian press, starting from the first accounts in this respect, and ending with the subsequent assessments formulated in 20th-century musicology. Although the texts that tackle musical issues are quite few and social aspects prevail in the commentators’ list of interests, by combining the information provided by general literary/historical/social sources with the details included in specialized articles we can create a new perspective on late 19th-century Iași-based compositions.

Pablo Neruda's Transnational Modernist Networks: Colombo-Madrid-London-Buenos Aires (1927–1933)

2017 ◽  
Vol 12 (2) ◽  
pp. 198-225
Author(s):  
Patricia Novillo-Corvalán
Keyword(s):  
Chamber Music ◽  
Latin American ◽  
Buenos Aires ◽  
Cultural Institutions ◽  
Complex Composition ◽  
British Colonial ◽  
The One ◽  
Composition Process ◽  
In Transit ◽  
Standing Question

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.

Korngold and His World

2019 ◽  
Keyword(s):  
Chamber Music ◽  
Musical Theater ◽  
Musical Language ◽  
American Film ◽  
Popular Song ◽  
Film Scores ◽  
Hollywood Film ◽  
English Translations ◽  
Erich Wolfgang Korngold ◽  
American Popular Song

Erich Wolfgang Korngold (1897–1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947. From his prewar operas in Vienna to his pathbreaking contributions to American film, this book provides a substantial reassessment of Korngold's life and accomplishments. Korngold struggled to reconcile the musical language of his Viennese upbringing with American popular song and cinema, and was forced to adapt to a new life after wartime emigration to Hollywood. The book examines Korngold's operas and film scores, the critical reception of his music, and his place in the milieus of both the Old and New Worlds. It also features numerous historical documents—many previously unpublished and in first-ever English translations—including essays by the composer as well as memoirs by his wife, Luzi Korngold, and his father, the renowned music critic Julius Korngold.

36. Practicing medicine and music II: Ophthalmology and music

2007 ◽  
Vol 30 (4) ◽  
pp. 46
Author(s):  
L. P. Hwi ◽  
J. W. Ting
Keyword(s):  
Chamber Music ◽  
18Th Century ◽  
Johann Sebastian Bach ◽  
Active Member ◽  
Active Researcher ◽  
Silver Medal ◽  
Medical Career ◽  
The One ◽  
The University ◽  
Over 40 Years

Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years. The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing. Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278. Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93. Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.

First grammar books in the Habsburg Monarchy: individual initiative and regulatory interference by the state (1760s–1770s)

2020 ◽  
Vol 2019 (2 (11)) ◽  
pp. 137-157
Author(s):  
Olga V. Khavanova ◽  
Keyword(s):  
Eighteenth Century ◽  
State Policy ◽  
Large Scale ◽  
Language Use ◽  
Linguistic Diversity ◽  
Mother Tongue ◽  
German Language ◽  
Habsburg Monarchy ◽  
Private Initiative ◽  
The One

The second half of the eighteenth century in the lands under the sceptre of the House of Austria was a period of development of a language policy addressing the ethno-linguistic diversity of the monarchy’s subjects. On the one hand, the sphere of use of the German language was becoming wider, embracing more and more segments of administration, education, and culture. On the other hand, the authorities were perfectly aware of the fact that communication in the languages and vernaculars of the nationalities living in the Austrian Monarchy was one of the principal instruments of spreading decrees and announcements from the central and local authorities to the less-educated strata of the population. Consequently, a large-scale reform of primary education was launched, aimed at making the whole population literate, regardless of social status, nationality (mother tongue), or confession. In parallel with the centrally coordinated state policy of education and language-use, subjects-both language experts and amateur polyglots-joined the process of writing grammar books, which were intended to ease communication between the different nationalities of the Habsburg lands. This article considers some examples of such editions with primary attention given to the correlation between private initiative and governmental policies, mechanisms of verifying the textbooks to be published, their content, and their potential readers. This paper demonstrates that for grammar-book authors, it was very important to be integrated into the patronage networks at the court and in administrative bodies and stresses that the Vienna court controlled the process of selection and financing of grammar books to be published depending on their quality and ability to satisfy the aims and goals of state policy.

The Green New Deal

2019 ◽  
Author(s):  
Robert C. Hockett
Keyword(s):  
New Deal ◽  
Large Scale ◽  
Public Investment ◽  
Climate Science ◽  
Time Frame ◽  
White Paper ◽  
Good News ◽  
Carbon Neutrality ◽  
The One ◽  
In Virtue Of

This white paper lays out the guiding vision behind the Green New Deal Resolution proposed to the U.S. Congress by Representative Alexandria Ocasio-Cortez and Senator Bill Markey in February of 2019. It explains the senses in which the Green New Deal is 'green' on the one hand, and a new 'New Deal' on the other hand. It also 'makes the case' for a shamelessly ambitious, not a low-ball or slow-walked, Green New Deal agenda. At the core of the paper's argument lies the observation that only a true national mobilization on the scale of those associated with the original New Deal and the Second World War will be up to the task of comprehensively revitalizing the nation's economy, justly growing our middle class, and expeditiously achieving carbon-neutrality within the twelve-year time-frame that climate science tells us we have before reaching an environmental 'tipping point.' But this is actually good news, the paper argues. For, paradoxically, an ambitious Green New Deal also will be the most 'affordable' Green New Deal, in virtue of the enormous productivity, widespread prosperity, and attendant public revenue benefits that large-scale public investment will bring. In effect, the Green New Deal will amount to that very transformative stimulus which the nation has awaited since the crash of 2008 and its debt-deflationary sequel.

“Community Interests” and the Role of International Law in the Creation of a Global Market for Agricultural Land

2018 ◽  
Author(s):  
Jochen von Bernstorff
Keyword(s):  
International Law ◽  
Large Scale ◽  
Agricultural Land ◽  
Food Sovereignty ◽  
Global Market ◽  
Negative Consequences ◽  
Cultural Rights ◽  
Land Grab ◽  
Large Scale Land ◽  
The One

The chapter explores the notion of “community interests” with regard to the global “land-grab” phenomenon. Over the last decade, a dramatic increase of foreign investment in agricultural land could be observed. Bilateral investment treaties protect around 75 per cent of these large-scale land acquisitions, many of which came with associated social problems, such as displaced local populations and negative consequences for food security in Third World countries receiving these large-scale foreign investments. Hence, two potentially conflicting areas of international law are relevant in this context: Economic, social, and cultural rights and the principles of permanent sovereignty over natural resources and “food sovereignty” challenging large-scale investments on the one hand, and specific norms of international economic law stabilizing them on the other. The contribution discusses the usefulness of the concept of “community interests” in cases where the two colliding sets of norms are both considered to protect such interests.

Ephemera

2020 ◽  
pp. 168-188
Author(s):  
Catherine Massip
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Large Scale ◽  
Short Life ◽  
Musical Life ◽  
Major Medium

Among the documents which give access to musical life and its various events, ephemera occupy a special field. The word (ephemeron singular; ephemera plural) covers several kinds of written or printed documents largely scattered but being produced for a short life and not subject to be handled and stored in a permanent way. “Those papers of the day” as defined in eighteenth century were produced on a large scale in the nineteenth century when newspapers became the major medium for publicity. The main purpose of these documents was primarily information and publicity. This chapter argues how ephemera may be read not as mere sidelines to culture but as central documents pertaining to the wide and complex intellectual issues in music.

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