Songs of Transience (Op.29 ) (original) (raw)
Related papers
Ethnomusicology Translations, 2018
Vladimír Úlehla (1888-1947) uses his expertise in the biological sciences to perform an in-depth and ecologically situated study of folk songs from his native Czechoslovakia. His posthumous magnum opus Živá Píseň (Living Song, 1949) chronicled the musical traditions of Strážnice, a small town at the western hem of the Carpathian Mountains at the Moravian-Slovakian border. Informed by four decades of ethnographic inquiry, transcription, and several music-analytical methods, in Chapter VI Úlehla considers the songs from Strážnice as living organisms, links them to their ecological environs, and isolates musical characteristics that he believes correspond to stages of their evolution. He discusses modulation, vocal style, ornamentation, melodic and poetic structure, and identifies a diverse array of musical modes—evidence that he uses to refute the prevailing assumption of the day that folk music was derivative of art music.
IRLANDINI An Introduction to the Poetics of Sacred Sound.pdf
Revista Vórtex Vol. 2
Along the twentieth century has occurred the beginning of a fusion between two very different horizons: Western musical composition and Hindu sonic theology. The essential content of this theology and the changes in Western musical language and aesthetics, society and culture which have allowed this fusion to take place are briefly outlined. Instrumental and vocal works by Karlheinz Stockhausen, Giacinto Scelsi, Michael Vetter and David Hykes provide specific examples and, in particular, raise the predicament between mysticism and rationalism, manifested in the dichotomy ècriture/inspiration. The study proceeds investigating the connections between music and meditation. In this context, overtone singing appears as a musical and meditative practice. The incorporation of this non-European or ancient vocal technique is evaluated as a dawning horizon in Western music. Overtone singing has required a practical emphasis through improvisation, suggesting a new musical praxis that does not separate composition from performance.
Winged seed songs: 32 poems in musical forms & musical moods
2014
Professional musicians will often scorn the notion that music may text an inner message. Recalling rehearsals with the posthumously famous Georg Tintner, a hard-boiled West Australian Symphony Orchestra player lamented to me: "Hell, he'd lecture us on Beethoven, Nietzsche and philosophy when all we wanted was to move on, go home, have tea." Nevertheless I think also of Thomas Mayer, a conductor now likely to be famous only in heaven, if at all, but violently displaced like Tintner from his home landscape and for the same cruelly senseless political reasons. Mayer was fond of quoting to audiences Beethoven's user-friendly remark: "Music has higher revelation than all wisdom and philosophy." I've noticed too that in heartfelt reactions to music, people often say it spoke to them and in similar reactions to poetic text they are moved to say it was music. Glen Phillips' poems in "Winged Seed Songs" live eloquently between such contradictions. Many of the poems inwardly rehearse European music, carried forward into an Australian landscape. In some poems, and cycles of poems, musical forms have suggested poetic ones. Others are of music as it newly presents in landscape: when you stop the car …noise of silence/ is as sudden as thunderstroke. The graces and refraining patterns of music too, will hover us across ancient, magic terrain, as in "Roebuck Bay": The way to the sea is across the sea… Adding to richness, poems set in China, Spain, Denmark or England run a different landscape where Australia itself may be carried inwardly like a haunting tune.
Song, performance, and text in the new Posidippus
Zeitschrift für Papyrologie und Epigraphik, 2003
49 The silence of Hegedike (P. Mil. Vogl. 309, VIII 7-12) [oj xev a kwk]uv ≥ ouça Filaiv nion w| de çu; n auj lw' i [mhv thr th; n m]elev hn ÔHgediv khn ej tiv qei oj k[twkaide]kev tin, mev ga dav kruon: aiJ de; liv g[e]i≥ a≥ i≥ kerk[iv deç aij ]h≥ nw' ≥ [n] ai\ ya kaq∆ iJ çtopov dwn e . . [± 6] . [3]. ka: to; ga; r cruv çeon çtov ma ko≥ uv ≥ [r]h≥ ç≥ [± 6] zoferw' i tw' ide mev nei qalav mwi [With piercing laments,] at the sound of the flute, Philaenion, [her mother], placed here the unhappy Hegedike [eighteen years] old, the source of great tears: the shrill shuttles were straightaway [flung] from the wearisome looms. [I shudder,] for the golden mouth of the maid remains [lifeless] in this gloomy chamber Austin translates his supplements aij ]h≥ nw' ≥ [n] (line 4), ej r≥ r≥ [iv ptonto:] p[ev fr]ika (beginning of line 5) and [a[ yucon] (beginning of line 6) 1 . Other interesting suggestions have been advanced for the 1 Text and translation, here and below, are taken from Austin-Bastianini 2002. References to works of Posidippus follow the numbers of that edition. Thanks are due to B. Acosta-Hughes, F. Bessone, M. Cannatà Fera, G. B. D'Alessio, M. C. Martinelli, C. Pernigotti, L. Prauscello, and M. Telò for comments, corrections, and suggestions. Song, Performance and Text in the New Posidippus 07/01/09 2 adjective in line 4: one should mention aij pe]i≥ nw' [n] 'lofty, steep', by E. Livrea 2 . Austin's suggestion for line 5 seems the best 3 .
Foreword to Nicholas Roumas' A Musical Ark.pdf
The Musical Ark, An Ark of Hymnody of the Eastern Orthodox Church, 2017
Composing music for Greek liturgical texts is a highly refined art with a long and uninterrupted history that dates to the first millennium AD. In contrast, composing music for English translations of liturgical texts is relatively new and has yet to reach a commensurate level of sophistication and artistry. Textual considerations must always be the primary guiding principle behind the composer's decisions, as the ultimate goal of the melody is to highlight the sacred text, render it more intelligible to the listener,
Music from the Forests of Riau and Mentawai
Yearbook for Traditional Music, 1999
This publication has been typeset in the multilingual "Brill" typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface.
Music of Three Continents: Europe, North America and Africa (Recital Document)
University of Texas at San Antonio, 2011
Music of Three Continents is a survey of choral music from Europe, North America, and Africa. The works represent six countries and six languages: Austria (German), Italy (Latin), Nigeria (Igbo), South Africa (Xhosa and Zulu), the United States (English), and Wales (English). The oldest work, Giovanni Gabrieli’s Jubilate Deo, was printed in 1615 and the newest work was composed for the recital. Each chapter is devoted to an individual work and composer and contains elements of biography, socio-cultural and historical perspectives, theoretical analysis, and performance consideration. The first chapter, Let the People Praise Thee, O God by William Mathias (1934–92), focuses on the elements of the composer’s style that contributed to his success as a commissioned composer of the twentieth century. The second chapter, Jubilate Deo a 8 by Giovanni Gabrieli (1557–1612), consults a number of major scholars to point out discrepancies and develop a current understanding of Gabrieli’s life and works and the performance practice of the period. The third chapter, Mirjams Siegesgesang by Franz Schubert (1797–1828), supports recent conclusions on Schubert’s relationship to Beethoven, Handel, and the study of counterpoint with examples from Handel’s Israel in Egypt, and Schubert’s own interpretation of the Exodus story. The fourth chapter, Two Northern Songs by Edward MacDowell (1860–1908), elucidates a transitional period in the composer’s life when he was focused on developing an American identity in formal concert music. The last chapter, Lithisikiya: A Song of Hope from South Africa, examines the linguistic origins of an African call-and-response chorus.