Medieval liturgical drama, Carmina Burana and the Arnaut Daniel’s sestina: Music and literature

Text and Tune ◽  
2016 ◽  
Keyword(s):  
Music And Literature ◽  
Carmina Burana ◽  
Liturgical Drama

The Doctor Faustus Dossier

2018 ◽  
Author(s):  
Adrian Daub
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Primary Source ◽  
Music And Literature ◽  
Twentieth Century Music ◽  
Private And Public ◽  
Doctor Faustus ◽  
Public Lives ◽  
Nazi Era ◽  
The Impact

Arnold Schoenberg and Thomas Mann, two towering figures of twentieth-century music and literature, both found refuge in the German-exile community in Los Angeles during the Nazi era. This complete edition of their correspondence provides a glimpse inside their private and public lives and culminates in the famous dispute over Mann's novel Doctor Faustus. In the thick of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make him an enemy of both families. Gathered here for the first time in English, the letters are complemented by diary entries, related articles, and other primary source materials, as well as an introduction that contextualizes the impact that these two great artists had on twentieth-century thought and culture.

Haydn, meter, and listening in transition

2010 ◽  
Vol 51 (1-2) ◽  
pp. 141-152 ◽  
Author(s):  
Roger Grant
Keyword(s):  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Recent Trend ◽  
Music And Literature ◽  
Late Works ◽  
The Way

In recent years, music theorists and analysts have devoted a great deal of attention to the phenomenon of hypermeter, drawing some of their most representative examples from the late works of Haydn. Although this recent trend in analysis has shed much light on Haydn’s music, it has left questions of history distinct from the mode of listening it engages. This article argues that the way we understand conceptualizations of listening and aesthetic experience can greatly inform the way that we understand hypermeter and the question of style in history. Drawing on eighteenth-century theories of music and literature, it recontextualizes Haydn’s hypermetric style with respect to a larger world of aesthetic experience.

scholarly journals The Primacy of Beauty in Music, Visual Arts and Literature: Not Just a Replication Study in the Greek Language Exploring the Effects of Verbal Fluency, Age and Gender

2021 ◽  
pp. 003329412110268
Author(s):  
Vaitsa Giannouli ◽  
Juliana Yordanova ◽  
Vasil Kolev
Keyword(s):  
Visual Arts ◽  
Verbal Memory ◽  
Cognitive Factors ◽  
Semantic Field ◽  
Older Individuals ◽  
Greek Language ◽  
Age And Gender ◽  
Music And Literature ◽  
Young Females ◽  
And Gender

Research on aesthetic descriptors of art in different languages is scarce. The aim of the present study was to elucidate the conceptual structure of aesthetic experiences of three forms of art (music, visual arts and literature) in the Greek language, which has not been explored so far. It was further aimed to study if biological and cognitive factors such as age and gender might produce differences in art appreciation. A total of 467 younger and older individuals from Greece were asked to generate verbal descriptors (adjectives) in free word-listing conditions in order to collect terms reflecting the aesthetics-related semantic field of art. The capacity of verbal memory was controlled by using a battery of neuropsychological tests. Analysis of generated adjectives’ frequency and salience revealed that ‘beautiful’ was the most prominent descriptor that was selected with a distinctive primacy for all three forms of arts. The primacy of ‘beautiful’ was significantly more pronounced for visual arts relative to music and literature. Although the aging-related decline of verbal capacity was similar for males and females, the primacy of ‘beautiful’ depended on age and gender by being more emphasized for young females than males, and for old males than females. Analysis of secondary descriptors and pairs of adjectives revealed that affective and hedonic experiences are essentially fixed in the semantic field of art reflection. It is concluded that although the concept of the aesthetics seems to be diversified and rich, a clear primacy of beauty is found for the Greek cultural environment and across different forms of art. The results also highlight the presence of complex influences of biological and cognitive factors on aesthetic art experiences.

The Literary Ellington

2002 ◽  
Vol 77 (1) ◽  
pp. 1-29 ◽  
Author(s):  
Brent Hayes Edwards
Keyword(s):  
African American ◽  
Creative Process ◽  
American History ◽  
African American History ◽  
Literary Texts ◽  
Music And Literature ◽  
Literary Sources ◽  
Duke Ellington ◽  
Compositional Technique ◽  
Formal Relationship

The literary plays an indispensable role in the creative process and compositional technique of the great jazz composer and orchestra leader Duke Ellington. It is well known that he based a number of his pieces on literary sources and that many of his larger works in particular rely on narrative written by Ellington and/or his collaborator Billy Strayhorn, whether it was programmatic, recitative, or lyric. In all his music, Ellington was concerned with ''telling tales'' in language, not only in sounds - or more precisely, in both: composing in ways that combined words and music. This imperative is evidenced in the pieces Ellington called ''parallels,'' a word he chose in particular to highlight the formal relationship between music and literature. In some, such as the ''Shakespearean Suite'' known as ''Such Sweet Thunder,'' he used various structural approaches and instrumental techniques to achieve portraiture through the interrelationship between the musical and the literary. In other pieces, such as ''My People'' and especially ''Black, Brown and Beige,'' Ellington attempted to integrate literary texts into his music in a manner that is not programmatic. The longer pieces demonstrate that for Ellington's aesthetic, the representation of African American history necessitated a mixed, multimedia form.

Love Lyrics from the "Carmina Burana"

1995 ◽  
Vol 88 (3) ◽  
pp. 238
Author(s):  
Edna deAngeli ◽  
P. G. Walsh
Keyword(s):  
Carmina Burana

scholarly journals The Scientific and Cultural Journey to Ovarian Rejuvenation: Background, Barriers, and Beyond the Biological Clock

Medicines ◽  
2021 ◽  
Vol 8 (6) ◽  
pp. 29
Author(s):  
Eric Scott Sills
Keyword(s):  
Ovarian Function ◽  
Platelet Rich Plasma ◽  
Hormone Replacement ◽  
Biological Clock ◽  
Art Music ◽  
Reproductive Technologies ◽  
Sex Reassignment Surgery ◽  
Older Woman ◽  
Music And Literature ◽  
Intractable Problem

Female age has been known to define reproductive outcome since antiquity; attempts to improve ovarian function may be considered against a sociocultural landscape that foreshadows current practice. Ancient writs heralded the unlikely event of an older woman conceiving as nothing less than miraculous. Always deeply personal and sometimes dynastically pivotal, the goal of achieving pregnancy often engaged elite healers or revered clerics for help. The sorrow of defeat became a potent motif of barrenness or miscarriage lamented in art, music, and literature. Less well known is that rejuvenation practices from the 1900s were not confined to gynecology, as older men also eagerly pursued methods to turn back their biological clock. This interest coalesced within the nascent field of endocrinology, then an emerging specialty. The modern era of molecular science is now offering proof-of-concept evidence to address the once intractable problem of low or absent ovarian reserve. Yet, ovarian rejuvenation by platelet-rich plasma (PRP) originates from a heritage shared with both hormone replacement therapy (HRT) and sex reassignment surgery. These therapeutic ancestors later developed into allied, but now distinct, clinical fields. Here, current iterations of intraovarian PRP are discussed with historical and cultural precursors centering on cell and tissue regenerative effects. Intraovarian PRP thus shows promise for women in menopause as an alternative to conventional HRT, and to those seeking pregnancy—either with advanced reproductive technologies or as unassisted conceptions.

Kharkiv Scenography School of O. Khvostenko-Khvostov: The Experience of Professionalization

2021 ◽  
Vol 2021 (02) ◽  
pp. 85-95
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Material Culture ◽  
Teaching Practice ◽  
Early Years ◽  
Music And Literature ◽  
Avant Garde ◽  
Theatrical Design ◽  
Outstanding Teachers ◽  
History Of ◽  
Compulsory Subject ◽  
The City

The article is devoted to the early years of formation of Kharkiv scenography school and to the creative and pedagogical activities of Olexander Khvostenko-Khvostov (1895–1967). It was reported that the bold experiments of this artist, in the field of theatrical design of 1918–1922, made him one of the central figures of Kharkiv avant-garde scene (“Mystery Buff”; “The Army in the City”; “Lilyuli”, etc), strengthening the reputation of an innovator and causing the beginning of pedagogical activity at the Kharkiv Art College in 1921. The theatrical and decorative workshop was opened at the faculty of painting at the Kharkiv Art College in 1922, it was headed by A. Khvostenko-Khvostov. Among the first graduates were such bright alumni as A. Volnenko, P. Suponin, V. Ryftin, A. Bosulaev, B. Chernyshov, and others. Fundamental provisions of the educational program, which A. Khvostenko borrowed from the teaching practice of A. Exter (Kyiv Studio, 1918–1920), reflected the formation idea of future theater artist’s synthetic thinking. It is known that the education program of the Theater and Scenery Workshop of KAC, equally with the Studio of A. Exter, in addition to the subjects common to all students of painting and drawing faculty as special subjects (theatrical scenery, technique and technology of the stage, etc.) included also the history of theater (I. Turkeltaub), material culture, costume, music and literature (A. Beletsky). O. Khvostenko paid special attention to theoretical and practical issues of composition. He introduced the course of fundamentals of directing (V. Vasilko) as a compulsory subject. Much of what the students mastered at the Workshop was tested on the professional stages of Kharkiv theaters. Associated with the Kharkiv Art School for a quarter of a century (1921–1946), O. Khvostenko-Khvostov has not still been included in the pantheon of its outstanding teachers.

Easter Trope Quem queritis in the Lead-up to the Liturgical Drama

10.34690/179 ◽  
2021 ◽  
pp. 74-89
Author(s):  
Анна Андреевна Савенкова
Keyword(s):  
Concepts And Categories ◽  
Liturgical Drama

При изучении средневековой культуры бывает довольно сложно провести четкие границы между понятиями, категориями, поскольку многие из них либо сформировались позже, либо со временем наполнились другими смыслами. К таковым относятся драма и богослужение, на стыке которых возникло то, что в XIX веке получило название «литургическая драма». Вместо того чтобы прочертить между ними границу и исследовать изолированно, мы попробовали устремить взгляд на пограничные зоны: пространственные (взаимодействие песнопений внутри богослужения, их перемещение, поведение монахов в храме) и временные (этапы возникновения, становления и трансформации). В статье рассматриваются вопросы возникновения внутри пасхального богослужения драматического элемента - тропа-диалога Quem queritis («Что ищете»), его предполагаемых текстовых и интонационных литургических истоков, а также обратного воздействия тропа на канонические песнопения, благодаря которому стало возможным формирование литургической драмы как цельного, сюжетно и музыкально выстроенного эпизода внутри службы. It is quite difficult sometimes to draw a strict line between some concepts and categories while analyzing the medieval culture. The reasons are either these categories, which researchers are trying to define, appeared much later, or the meaning behind them was being changed through the centuries. One of the problematic areas is the concepts of drama and liturgy. Right on the border between them, there have appeared something that have received a name “liturgical drama” in the 19 century. Instead of trying to split these phenomena apart and study them separately, we have decided to switch our attention to the borders itself, both spatial (the chant interaction inside the liturgy, their replacement, the monks' behavior in the cathedral's space) and temporal (stages of origin, becoming and transformation). In this article, the attention is focused on the two main subjects. The first one is the genesis of the dialogue trope Quem queritis (“Whom do you seek”), which was the first dramatic element within the Easter liturgy. The second one is the reverse impact of the trope to the traditional liturgical chants, which made possible the appearance of the liturgical drama as a solid, all-in-one episode with the fine and logical textual and musical subject.

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