Violin Sonata in F-major by Edvard Grieg in the context of national elements and european music achievements

2020 ◽  
Vol 2 (14) ◽  
pp. 73-96
Author(s):  
Marcin Kawczynski
Keyword(s):  
Folk Music ◽  
Teaching Practice ◽  
Home Country ◽  
Initial Period ◽  
Creative Work ◽  
Violin Sonata ◽  
Edvard Grieg ◽  
Musical Heritage ◽  
Different Sources ◽  
Creative Life

In concert and especially in teaching practice, Edvard Grieg’s Violin Sonata in F Major op. 8, which was written in 1865, is labelled as his youthful composition. Considering the time when it was created, it is an undisputed fact, but such a term has negative connotations and may also make one’s attitude towards artistic explorations within the piece shallower. It is worth to mention here that it was this very Sonata in F Major that attracted the attention of the great Ferenc Liszt. In his article, the author attempts to point to different sources which inspired Grieg during the initial period of his creative life. These influences can be divided into national ones (Norwegian) and European ones (based on the firm roots of the European musical heritage). There is no doubt that the composer is another link in the great Romantic tradition, both in terms of composition technique and form, as well as regular studies at the Conservatory in Leipzig. However, the matters related to the national element are much more difficult to look at using a comprehensive approach. While experiencing and analysing Norwegian folk music, one needs to consider to what extent Grieg’s music draws from it. In this aspect, the author discusses the issue of how well Grieg knew the music from his home country as well as objective obstacles in reflecting its idiom in artistic music. Norwegian folk instruments as such, in this case – the violin: hardingfele, seem an interesting element. These diverse influences were present throughout the whole period of Grieg’s creative work and can be seen already in his youthful Sonata in F Major – even though sometimes they are barely noticeable because of not having a mature form. Nevertheless, the awareness of rich- ness and many layers included in this composition should stimulate performers to study it in a diligent and in-depth way.

About realization of the first stage of development of the fundamental problem “Folk music of Halychyna and Volodymyria”: innovative activity of the Research Scientific Laboratory of Musical Ethnology 1990s–early 2000s.

Ethnomusic ◽  
2018 ◽  
Vol 14 (1) ◽  
pp. 9-46
Author(s):  
Lina Dobrianska ◽  
Keyword(s):  
Folk Music ◽  
Fundamental Problem ◽  
Initial Period ◽  
Field Research ◽  
Historical Records ◽  
Stage Of Development ◽  
Data Archives ◽  
Research Programmes ◽  
Western Ukraine ◽  
Scientific Laboratory

The article considers versatile ethnomusicographic activities of the Research Scientific Laboratory of Music Ethnology (RSLME) in initial period of its activity (1990–2004) under the direction of Bohdan Lukaniuk. A brief historical outline of the ethnomusicological studies of the Lviv Conservatory has been submitted, the chronology of educational reform in pedagogy and scientific ethnomusicological studies of higher education has been presented, which resulted in the establishment of a new scientific institution, the Scientific-Researching Laboratory of Music Ethnography, on the basis of the Office of Folk Music as early as 1990’s. The main innovations introduced by B. Lukaniuk in the etnomusicology and education were outlined. PSRLME in cooperation with Music Folklore Department of the Mykola Lysenko Lviv High Music School has rapidly developed into a trusted ethnomusicological institution well established in Ukraine and abroad. The main innovations were: carefull planning of all activities of the Laboratory as an integral part of the project “Folk music of Galicia and Volodymyria”; the methodological and practical reform of musical education; establishment of an careful field research and archiving strategy as integral part of historical and ethnomusicological research programmes of the Western Ukraine ethnomusicological areals; a reform of Ethnomusicographic data archive: careful planning of field research programmes, establishments of new funds and collections, systematic archiving of current & historical records, etc. The results of the initial period of the activities of PSRLME in the field of musical and ethnographic data archives are summarized, including the historical timeline of the implementation of as much as two dozen research programs and sub-programs which were then initially established, and a series of indicators has been created to provide historical timeline reference. The article is prepared on the basis of the data archives of documentation and printed sources. Tags: music folklore, ethnomusicology historical records, etnomusicological data archives, archiving data strategies, Bohdan Lukaniuk, PSRLME.

Verwendung, Verleugnung, Wiederentdeckung – Ligeti und ethnische Musiken

2016 ◽  
Vol 57 (1-2) ◽  
pp. 35-47
Author(s):  
Márton Kerékfy
Keyword(s):  
Folk Music ◽  
Creative Work ◽  
Eastern European ◽  
Late Period ◽  
Ethnic Music ◽  
East European ◽  
Ambivalent Attitude ◽  
First Time

Regarding György Ligeti’s relation to ethnic music, his oeuvre can be divided into three periods. Until 1956 he used East European folk music in the manner of Hungarian composition of the 1940s and 1950s, but upon leaving Hungary he apparently rejected folkloristic inspiration. In his late period from 1978 on, however, ethnic musics became again central to his creative work, albeit in a basically different way than in his youth. This article provides an overview of Ligeti’s early folkloristic pieces and a brief characterization of his use of elements of Eastern European folklore in Le Grand Macabre, Hungarian Rock, Passacaglia ungherese and the Horn Trio. Finally, it traces back Ligeti’s “lamento melody,” that appears for the first time in the last movement of the Horn Trio, to certain types of the Hungarian folk lament. Ligeti’s references to folklore do not mean an idealization of his past, but are rather signs of an ambivalent attitude toward his own roots, in which nostalgic longing, ironic distancing, and desperate mourning are equally present.

scholarly journals The personality and the creative work of A. Pasculli in the context of the West European music art of the 19th century

2021 ◽  
pp. 1-10
Author(s):  
Liliya Orlanovna Norbu ◽  
Mariya Vladimirovna Kholodova
Keyword(s):  
19Th Century ◽  
Early 20Th Century ◽  
Creative Work ◽  
Music Culture ◽  
Research Focus ◽  
The West ◽  
Russian Scientific ◽  
The 19Th Century ◽  
Creative Life

The authors of the research focus on Antonio Pasculli, a famous Italian virtuoso oboe player and composer of the late 19th - the early 20th century, whose name had long and undeservingly been in the wilderness. In the last two-three decades, his legacy has been getting a new lease on life. Pasculli’s compositions are on the concert list of oboe players all over the world. Despite the performance popularity, the personality and creative work of the outstanding Italian musician are still on the periphery of the research focus of Russian musicologists. All valuable information is contained in rare foreign researches. Therefore, the purpose of the article is to reconstruct the artistic portrait of Antonio Pasculli in the context of time. This research is the first in Russian musicology to introduce into Russian scientific discourse the data from foreign sources revealing the peculiarities of Pasculli’s creative life. Based on the analysis of the collected data, the authors conclude about the necessity to revise the role of Pasculli’s work and legacy in the context of European music culture of the 19th century. It is believed that familiarization with the information about the Italian musician, unknown to the Russian audience, will help to not only dive deeper into the specificity of Pasculli’s compositions, but also to reinterpret his place and role in the evolution of playing woodwind instruments.

scholarly journals Virtuosity and Dor: George Enescu and the Hora Lungă

2017 ◽  
Vol 58 (2) ◽  
pp. 175-196
Author(s):  
Belinda Jean Robinson
Keyword(s):  
Folk Music ◽  
Historical Context ◽  
The Unconscious ◽  
Childhood Experiences ◽  
Violin Sonata ◽  
Traditional Function ◽  
Cello Sonata

George Enescu’s aptitude as a virtuoso musician, developed at the conservatoires of Vienna and Paris, built on childhood experiences with Romani-Romanian musicians (the muzica lăutărească tradition), and Romanian folk music. The doina, a folk genre constructed from improvisatory repetitions of melody, and particularly associated with the concept of dor, “longing,” served as an inspiration throughout Enescu’s compositional career. This study examines virtuosity in relation to Enescu’s musical expressions of dor, specifically in his approach to the hora lungă, a sub-class of the doina. The virtuosic zenith of his Third Violin Sonata involves blurring the lines between emulation of muzica lăutărească performance with traditional vocal hora lungă delivery. The later Second Cello Sonata is contextualised with reference to Lucian Blaga’s formulation of the “stylistic matrix” as a means for depicting dor in connection to the temporal. Virtuosity here rather relates to interpretation: evoking the unconscious and the “mioritic space” by contrast to emulation of muzica lăutărească or the spontaneity of improvised hora lungă performance. Considering these examples with reference to personal and historical context, the present study suggests these passages perform the traditional function of the hora lungă: catharsis.

scholarly journals Problems of variability of the musical genre reng in the mugham performing arts of youth

2021 ◽  
pp. 68-74
Author(s):  
Fidan Ildyrymly
Keyword(s):  
Folk Music ◽  
Instrumental Music ◽  
Performing Arts ◽  
Musical Language ◽  
Musical Culture ◽  
Sheet Music ◽  
Sound Recordings ◽  
Musical Genre ◽  
Further Development ◽  
Musical Heritage

Consideration of the variability of the musical genre of rang in mugam performing arts showed that ranks arose and developed in the art of mugam as a form of vocal-instrumental music. Their melodic structure is directly related to the sections of mugam. There are numerous varieties of this relationship. Based on the analysis of the musical notation of the ranks, it was determined that in practice of performing mugam the ranks are directly related to the vocal-instrumental mugam, and this is especially important for their compositional structure. In this regard, in almost every version of mugham destgahs there is a set of different ranks, including tesnifs. The analysis of various musical records of the ranks in the musical performing arts helps to identify the features of the manifestation of this form of folk music in mugam, as well as the further development of this musical genre and musical culture as a whole. We consider it appropriate to study, primarily, the vocal-instrumental interpretation of mugham when studying mugam destgyahs and the melodic interconnections of rangs and tesnifs with sections (shobe) of mugam. After analyzing various musical notations of mugam dastgahs, we were able to trace how rengi relate to mugam shobe. It can be noted that many rengi are used in the recordings of these works associated with various performances in relation to various shobe of mugams. This feature is inherent in various mugham dastgahs – "Shur", "Segah", "Chahargah", "Bayati-Shiraz", "Shushter", "Humayun", etc. All this can be traced in musical notations, as well as in live mugham singing and sound recordings, which helps to determine the numerous variants of rengs related to these mugams. Within the framework of each mugham, dozens of rengs were created and included in musical practice. Part of this rich musical heritage is captured and preserved in sound recordings and sheet music. We believe that it is advisable to study rengi, grouping them into mugham families in order to analyze their musical language and reveal their inherent variability.

Sounds of the New Deal

2015 ◽  
Author(s):  
Peter Gough
Keyword(s):  
New Deal ◽  
Folk Music ◽  
Popular Front ◽  
The West ◽  
The Public ◽  
Federal Music Project ◽  
Good Music ◽  
Musical Heritage ◽  
The New Deal ◽  
Front Movement

At its peak, the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. This book explores how the FMP's activities in the West shaped a new national appreciation for the diversity of American musical expression. From the onset, administrators and artists debated whether to represent highbrow, popular, or folk music in FMP activities. Though the administration privileged using “good” music to educate the public, in the West local preferences regularly trumped national priorities and allowed diverse vernacular musics to be heard. African American and Hispanic music found unprecedented popularity while the cultural mosaic illuminated by American folksong exemplified the spirit of the Popular Front movement. These new musical expressions combined the radical sensibilities of an invigorated Left with nationalistic impulses. At the same time, they blended traditional patriotic themes with an awareness of the country's varied ethnic musical heritage and vast—but endangered—store of grassroots music.

scholarly journals Obcość jako kategoria analityczna w badaniach nad polską emigracją artystyczną

2017 ◽  
Vol 61 (1) ◽  
pp. 101-121
Author(s):  
Tomasz Ferenc
Keyword(s):  
Subject Matter ◽  
Home Country ◽  
Creative Work ◽  
Place Of Residence ◽  
Prolonged Absence

Biographical interviews conducted among Polish émigré artists have revealed several key categories. One of them is the feeling of otherness, which turns out to be a complex and multifaceted category. In the artists’ ‘mythologies’ their sense of foreignness, otherness, and even awareness of the hostility of the outside world appears very often and becomes part of their biographies and artistic ethos. Emigration generally exacerbates this condition. In the emigrant experience, the foreignness of the new place of residence and prolonged absence from the home country has its consequences. Very often emigré artists experience a dual sense of otherness: in the home country that they have left and in the new place of residence. However, this does not mean that the feeling is connected solely with suffering. Many artists are able to use this feeling to find subject matter and stimulation for creative work. These artists continually derive inspiration from being an outsider. The author uses  biographical material to show the different trajectories of foreignness and the various creative strategies used by emigré artists. Otherness is shown to be a key category of their experience but not an entirely unambiguous one.

scholarly journals THE INITIAL PERIOD OF RESEARCH OF ABAY'S BIOGRAPHY

2020 ◽  
pp. 438-443
Author(s):  
M. Kartaeva ◽  
◽  
G. Muhametkalieva ◽  
G. Baltabayeva ◽  
◽  
...  
Keyword(s):  
Initial Period ◽  
Creative Life

The article is devoted to the first stage of studying Abay's biography. The article " the Life of Abay (Ibrahim) Kunanbaeva" which first talks about the works and the biography of Abai. It tells about the publication of the first collection of Abay's poems, about the works of the authors of the collection. Alikhan Bokeikhanov, who first introduced the life and creative heritage of Abay to Russian readers, will introduce the epic "Abay (Ibrahim) Kunanbayev". About valuable information in the creative life of Abay is told in the memoirs of Turagul Abayevich "About my father Abay". The authors prove that the creative life of Abay is a fundamental branch of Abay Studies.

From Craic to Communitas: Furthering disability activism through traditional Irish song

2019 ◽  
Vol 4 (2) ◽  
pp. 257-263
Author(s):  
Alexandria Carrico
Keyword(s):  
Folk Music ◽  
Story Telling ◽  
Music Making ◽  
Musical Heritage

Abstract This piece offers an ethnographic account of work undertaken to bridge neurotypical and neurodivergent communities in Limerick, Ireland, through music-making workshops. By harnessing a common musical heritage in traditional Irish folk music, specifically its participatory dynamics, and its emphasis on story-telling, dialogue and inclusion, participants were able to musicalize their identities in ways that resonated with the integrative spirit of neurodiversity, against the logics of neurotypical, able-bodied assimilation.

scholarly journals Reflexión ética y ciudadana en estudiantes de contaduría a través del Aprendizaje basado en el servicio: Un estudio exploratorio

2014 ◽  
pp. 327-340
Author(s):  
Dra. Gabriela María Farías Martínez ◽  
Baltazar Contreras Durán ◽  
Rey Jesús Cruz Galindo
Keyword(s):  
Service Learning ◽  
Teaching Practice ◽  
Social Institutions ◽  
Accounting Students ◽  
Integrated Education ◽  
Teaching Technique ◽  
Relationship Of ◽  
The Relationship ◽  
Different Sources ◽  
And Training

La transversalidad en la educación superior implica la combinación de saberes técnicos con quehaceres en ética y ciudadanía que favorezcan una formación integral en los estudiantes. En el presente trabajo de reflexión sobre la práctica docente con estudiantes de contaduría del último año, se muestran los resultados de una intervención educativa en instituciones sociales, mediante el desarrollo de una Auditoría Integral por parte de los estudiantes, utilizando la técnica didáctica de Aprendizaje basado en el servicio. Los objetivos del  estudio fueron los siguientes: identificar los niveles de reflexión en los estudiantes, identificar la presencia de indicadores de competencias en ciudadanía y ética en diferentes fuentes de evidencia de los alumnos, y describir la relación de la técnica Aprendizaje basado en servicio con el desarrollo de la reflexión y la formación en ética y ciudadanía. Los resultados obtenidos en la intervención señalan un proceso de reflexión descriptivo, con énfasis en el manejo y resolución de conflictos, como consecuencia de la aplicación de la técnica didáctica.AbstractTeaching across the curriculum in higher education involves the combination technical knowledge with tasks in ethics and citizenship that favor an integrated education on students. In this work of reflection on teaching practice to accounting students from the last year, we present the results of an educational intervention in social institutions, through the development of a comprehensive audit by the students, using Service Learning as a teaching technique. The objectives of the study were: to identify the levels of reflection in students, to identify the presence of indicators of citizenship and ethics competences in different sources of students evidence and describe the relationship of Service Learning with the development of reflection and training in ethics and citizenship. The results indicate a descriptive reflection process, with emphasis on the management and resolution of conflicts, resulting from the application of the teaching technique.

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