scholarly journals Alexander Scriabin's and Igor Stravinsky's Influence upon Early Twentieth-Century Finnish Music: The Octatonic Collection in the Music of Uuno Klami, Aarre Merikanto and Väinö Raitio

2012 ◽  
Vol 25 (1-2) ◽  
pp. 67-85
Author(s):  
Edward Jurkowski
Keyword(s):  
Twentieth Century ◽  
Igor Stravinsky ◽  
Significant Shift ◽  
Tone Poem ◽  
Musical Style ◽  
The Earth ◽  
Early Twentieth Century ◽  
Jean Sibelius ◽  
Orchestral Works ◽  
Compositional Technique

This article examines a significant shift in musical style and compositional technique that occurred in Finland during the 1920s, a time during which the music of Jean Sibelius exerted a strong influence. Specifically, I discuss how the octatonic collection, a prominent feature in the music of the two early twentieth-century Russian modernists Igor Stravinsky and Alexander Scriabin, is incorporated as a fundamental harmonic resource in three celebrated orchestral works: Uuno Klami's 1935 "The Creation of the Earth" (movement one from his five-movement Kalevala Suite), movement one from Aarre Merikanto's 1924 Ten Pieces for Orchestra, and Väinö Raitio's 1921 tone poem Fantasia estatica.

Origins

Artful Noise ◽  
2020 ◽  
pp. 5-25
Author(s):  
Thomas Siwe
Keyword(s):  
Twentieth Century ◽  
Igor Stravinsky ◽  
Artistic Expression ◽  
Bela Bartok ◽  
Darius Milhaud ◽  
Early Twentieth Century ◽  
Cultural Movements ◽  
Unique Manner ◽  
To Come

This opening chapter contains a discussion of two early twentieth-century European art and cultural movements, Dadaism and Futurism, whose adherents rejected established modes of artistic expression and often staged provocative events to gain the public’s attention. In addition, there is a detailed look at the seminal works of three major composers, Igor Stravinsky, Darius Milhaud, and Béla Bartók, whose innovative use of percussion in their compositions gave license to those who followed. Each of the three composers exploited percussion in a unique manner, contributing to the standard literature and presaging what was to come.

Modalities of National Identity: Sibelius Builds a First Symphony

2011 ◽  
pp. 451-483
Author(s):  
James Hepokoski
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
Golden Age ◽  
Art Music ◽  
Early Twentieth Century ◽  
Jean Sibelius ◽  
Twentieth Century Music

This article discusses Jean Sibelius, a Finn composer who emerged during the golden age of Finnish nationalist art. It first studies the gap between the elite-urban European art and Finnish-revered originary culture. Preserved literary and musical collections, the concept of strategic triangulation, and the construction of Sibelius' first symphony are discussed. The article also proposes a methodological model that is generalizable to the study of other art-music inflections of nationalism in nineteenth- and early twentieth-century music.

Synthesis of the Current Knowledge Concerning the Construction of French Traditional Cob Building for Giving Recommendations

2022 ◽  
Author(s):  
Stéphanie Bonnet ◽  
Darwish Alzeort ◽  
Philippe Poullain
Keyword(s):  
Twentieth Century ◽  
Current Knowledge ◽  
Daily Life ◽  
Linear Shrinkage ◽  
Dune Sand ◽  
Du Bois ◽  
The Earth ◽  
Early Twentieth Century ◽  
Scientific Approach ◽  
The Town

The museum of the “Bourrine du bois Juquaud” is a tourist site located in the town of Saint Hilaire de Riez in France. It presents the daily life of the inhabitants of the marsh in the early twentieth century and their traditional earthen houses called Bourrine. The Bourrine is a cob construction with reed roof. The earth used for walls is soil from marshlands added with dune sand and straw fibres but some part are without fibres like coating applied on walls. By now, the knowledge acquired on the implementation of these mixtures for the lifting of the walls are oral knowledge and it is necessary to ensure the preservation of this traditional heritage. Currently the done reparations present cracks due to shrinkage. This study aims at well defining the mixtures by a scientific approach. The earth and dune sand were analyzed by taking cores from different existing bourrines and also by extracting soil on site. Different mixtures were produced by varying the proportion of earth sand and water. The linear shrinkage were measured. Corrections were done to get the best mixture for manufacturing and repairing the Bourrines.

scholarly journals Soothing Movements

2021 ◽  
pp. 136-197
Author(s):  
Jillian C. Rogers
Keyword(s):  
Twentieth Century ◽  
Medical Discourse ◽  
Trauma Studies ◽  
Musical Style ◽  
Emotional Difficulty ◽  
Musical Practice ◽  
Bodily Movement ◽  
Perpetual Motion ◽  
Early Twentieth Century ◽  
French Texts

This chapter argues that after 1914 French modernist composers and performers embraced a neoclassical, repetitive, perpetual-motion-oriented musical style—often termed style dépouillé—to help themselves and others cope with trauma somatically. Examination of psychological, scientific, and medical discourse on the mental, emotional, and physical benefits of rhythmic bodily movement in nineteenth- and early twentieth-century French texts provides a broader context for understanding the interwar popularity of music pedagogue Émile Jaques-Dalcroze’s eurhythmics, a popular interwar musical practice based on the understanding of musical movement as emotionally transformative. Analysis of compositions in the style dépouillé, situated within the context of trauma studies, Dalcroze’s influence, and musicians’ commentaries on how these pieces made them feel, reveals that the challenging musique dépouillée repertoire engaged musicians’ bodies in rhythmically regular corporeal movements and provided them opportunities to process and perform the emotional difficulty of trauma.

Residence

Yiddish ◽  
2020 ◽  
pp. 31-47
Author(s):  
Jeffrey Shandler
Keyword(s):  
Twentieth Century ◽  
Sense Of Place ◽  
Significant Shift ◽  
Ashkenazi Jews ◽  
Geographic Boundaries ◽  
Early Twentieth Century

This chapter examines how Yiddish, as the language of a diasporic minority, has been associated with a sense of place. Within its European “heartland,” the isoglosses of Yiddish dialects articulate geographic boundaries distinct to Ashkenazi Jews and reflect their long history across the continent. Though early twentieth-century efforts to create a Yiddish-speaking polity were short-lived, their aspirations constitute a significant shift in conceptualizing a geographic place for Yiddish. Conversely, the diaspora nationalist ideology of doikeyt (“here-ness”) and the notion of Yiddishland as a locus defined by the use of the language offer provocative alternatives to ideologies of nationhood tied to sovereignty and turf.

Teddy Brown and the Art of Performing for the British Variety Stage

2009 ◽  
Vol 25 (4) ◽  
pp. 379-390
Author(s):  
Oliver Double
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Complex Relationship ◽  
Musical Style ◽  
Popular Entertainment ◽  
Senior Lecturer ◽  
Stand Up Comedy ◽  
Early Twentieth Century ◽  
The University ◽  
British Variety

British variety theatre has been largely ignored by theatre historians, in spite of its huge popularity in the early twentieth century. Here, Oliver Double examines variety through its exemplification in the work of one performer, Teddy Brown, a virtuoso xylophone player whose career coincided with the heyday of the variety stage between and just after the two world wars. The key historical and stylistic aspects of the form typified by Brown's success included the development of a stage persona, novelty, skill, participation, a distinctive musical style, and the ability to exploit the complex relationship between variety and the other types of popular entertainment of the time, notably cinema, revue, and radio. Former comedian Oliver Double is a Senior Lecturer in Drama at the University of Kent, and is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005). His stand-up comedy DVD Saint Pancreas is available from the University of Kent website.

World Literature for the Wretched of the Earth

2020 ◽  
Author(s):  
J. Daniel Elam
Keyword(s):  
Twentieth Century ◽  
Comparative Literature ◽  
Political Theory ◽  
British Empire ◽  
World Literature ◽  
Colonial Rule ◽  
The Earth ◽  
Early Twentieth Century ◽  
The Face ◽  
Theories Of Reading

World Literature for the Wretched of the Earth recovers an alternative strain of anticolonialism that does not seek national sovereignty, authority, and political recognition, but advocates instead inexpertise, unknowing, unintelligibility, and collective unrecognizability. Early twentieth-century anticolonial thinkers endeavored to imagine a world emancipated from colonial rule, but it was a world they knew they would likely not live to see. Written in exile, in abjection, or in the face of death, anticolonial thought could not afford to base its politics on the hope of eventual success. This book shows how anticolonial thinkers theorized inconsequential practices of egalitarianism in the service of impossibility: a world without colonialism. To trace this impossible political theory, this book foregrounds anticolonial theories of reading and critique in the writing of four thinkers, Lala Har Dayal, B. R. Ambedkar, M. K. Gandhi, and Bhagat Singh. These activists theorized reading not as a way to cultivate mastery and expertise, but as a way of rather to disavow mastery and expertise altogether. Reading was antiauthoritarian precisely because it urged readers to refuse authorship and, relatedly, authority. To become or remain a reader, and divest oneself of authorial claims, was to challenge the logic of the British Empire and European fascism, which prized self-mastery, authority, and sovereignty. Bringing together the histories of comparative literature and anticolonial thought, Elam demonstrates how these early twentieth-century theories of reading force us to reconsider the commitments of humanistic critique and egalitarian politics.

Political Currents and Black Culture in Scott Joplin’s Treemonisha

2017 ◽  
Author(s):  
Ann Sears
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Economic Status ◽  
Black Culture ◽  
Community Leader ◽  
Musical Style ◽  
Political Messages ◽  
Love Story ◽  
American Opera ◽  
Early Twentieth Century

This chapter examines politics and black culture in Scott Joplin's Treemonisha, a love story that also lays emphasis on the main character's education and its benefits to her and the plantation folk, as well as the novel idea of a woman as a community leader. Much of Treemonisha's music parallels the Euro-American musical style employed by other American opera composers of the early twentieth century, but also incorporates nineteenth-century African American musical styles. This chapter first considers Treemonisha's African American musical elements before discussing some important musical signifiers of black identity in the opera, along with Joplin's use of language to impart cultural and political messages. It also explores Treemonisha's take on progress and education as well as its political content. It argues that through Treemonisha, Joplin was making a statement about the political, social, and economic status of African Americans in the early twentieth century.

Some Polish Composers of To-Day

Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik
Keyword(s):  
Twentieth Century ◽  
Fertile Soil ◽  
Early Twentieth Century ◽  
Progressive Group ◽  
Karol Szymanowski

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.

Sign in / Sign up

Export Citation Format

Share Document