Programme music Research Papers - Academia.edu (original) (raw)

2025

In Notiziario dell'Associazione Nobiliare Regionale Veneta n. 10, 2018. Dante scriveva le sue liriche come «modulationi armonizate», destinate a essere musicate. l'amore di dio, tema centrale della Divina Commedia, è simboleggiato dalla... more

2025, Kaygı Dergisi 24 (1)

Richard Wagner’in Schopenhauer’in metafiziği ile karşılaşması müzik ve sanat tarihindeki en
önemli hadiselerden birisi olarak karşımıza çıkar. Öyle ki Wagner’in sanatı büyük oranda
Schopenhauer’dan önce ve sonra olarak iki aşamaya bölümlenebilmektedir. Wagner’in erken dönem
sanat anlayışı her ne kadar Schopenhauer’in dünya görüşü ile tümüyle bir tezatlık sergilese de,
İsteme ve Tasarım Olarak Dünya’yı okuduktan hemen sonra Wagner’in tam anlamıyla
Schopenhauerci sanat anlayışına bağlandığını görmekteyiz. İlk başta imkânsız gibi görünen bu
etkilenmenin nasıl meydana gelebildiğini açıklayabilmek için mevcut çalışma Wagnerci sanatın
geçirdiği aşamaları irdeleyerek esasında Wagner’in örtük olarak daha ilk eserlerinde bile
Schopenhauerci eğilimler içerisine bulunduğunu göstermeye çalışır. Bu bağlamda Wagner’in
Schopenhauer’da tümüyle yeni ve farklı bir dünya görüşü değil fakat sadece kendi yaratıcı kişiliği
altında gizli kalmış özsel karakterini keşfettiği ortaya çıkmaktadır. En nihayetinde bu karşılaşmanın
Wagner’in sanatında meydana getirdiği dönüşümü görünür kılmak isteyen çalışma Wagner’in
Schopenhauer ile karşılaştıktan sonra yarattığı Tristan ve İsolde ile Parsifal eserlerine odaklanır ve
bu eserlerdeki Schopenhauerci temaları gün yüzüne çıkarır.

2025, Brněnská setkání s Bohuslavem Martinů (Franková, J. – Holá, M. – Sýkora, P. – Tichý, V. – Veselá, I. – Zouhar, V. – Žůrek, P.)

Zdeněk Zouhar’s private archive bears witness to the personal level of his
relationship with Bohuslav Martinů and his close friends and family. Besides voluminous correspondence, the archive also contains several dedicated prints and period copies of Martinů’s manuscripts; one can even find the reproduction of his last string quartet Concerto da camera (H. 314) from 1947 with the composer’s handwritten modifications. This is explored in Jana Franková’s chapter Poslední smyčcový kvartet Bohuslava Martinů v kontextu sbírky Zdeňka Zouhara [Bohuslav Martinů’s Last String Quartet in the Context of Zdeněk Zouhar’s Collection] where she identifies the importance of this particular reproduction in regards to the origins of the string quartet as well as its evolution towards its final version, which was influenced by difficulties that arose when preparing its first performance. The period reproduction of Concerto da camera from Zouhar’s archive was likely the material from which the work was first studied. Martinů’s handwritten modifications enable us to derive the original version of the work and thus better judge the alterations made in relation to the upcoming premiere, as well as the final form as envisaged by the composer himself. Thus the reproduction is an invaluable source to draw upon when producing new critical editions of the Concerto. It is unclear how it came into Zdeněk Zouhar’s possession; it was after the composition was published and seemingly also after Martinů’s death. Given its commemorative value, it may have been a gift from the composer’s widow, Charlotte Martinů, perhaps at the Bohuslav Martinů Festival, which Zdeněk Zouhar organised, being largely responsible for the dramaturgy. Concerto da camera was also performed during the ceremony held to mark the grand opening of the festival on 1st October 1966.

2025

Like the temperance, youth and labour movements, the sport movement was a nation-building mass movement. The Swedish sport movement was driven by certain ideals (e.g. patriotism), even if they were not always explicit. Sport leaders rarely discussed their ideological foundations but relied on the 'power of example', i.e. competition and showcasing, not speeches and writings, were the best way to spread interest in sport. The purpose of this article is to analyse the use of music in the Swedish sport movement from the perspective of sport's lukewarm interest in an outspoken ideology. By studying songs from three different context within the Swedish sport movement (gymnastics, association football and the workers sport movement), the study offers a new understanding of music-making in the context of sport and how ideological goals were articulated through musical activities.

2025

Hiristiyanlikta bireyin hem kabir azabinin hafifletmek, hem de merhumun anilmasi amaci ile muzik esliginde soylenen dualar, requiem adi verilen yapitlar olarak bilinir. Muzik tarihine bakildiginda; kilise bunyesinde yer alan dualarin ozgur bir bicimi ve yapiti olan requiem’in bestecilerin bakis acilari ile gelisim gosterdigi gorulmektedir. Bu calismada Hiristiyanlik inancinin cok sesli muzik sembolu olan requiem gelisiminin uc farkli ornegi incelenmeye calisilmistir. Ayrica bestecilerin requiem yazma nedenleri, metinleri ve bolumlerinde bulunan degisimler ele alinmistir.

2025, Aspects of Music

This article explores how the correlation of Orientalism with “colour” helped stimulate the increasing brilliance of orchestral music as the nineteenth century approached its zenith, explaining particular analogies that were drawn between... more

2024

İnsanlığın Ses Yolculuğu Giriş Müzik, insanlık tarihinin her döneminde toplumsal yapıyı, bireysel duyguları ve kültürel dönüşümleri yansıtan bir sanat biçimi olmuştur. İlk ritmik ifadelerden günümüze kadar müzik, hem bireylerin kendini ifade etmesinde hem de toplumların kolektif bilincinin oluşmasında önemli bir rol oynamıştır. Bu makale, müziğin tarihsel gelişimini, ana dönemler ve önemli figürler üzerinden detaylı bir şekilde incelemektedir.

2024, Harmonia: Journal of Arts Research and Education

2024, MusikTheorie

Dynamics is the most neglected of musical parameters in sonata theory: It is usually regarded as an aspect of individual work design and performance practice. However, the use of certain dynamics at crucial points of sonata form has long been a matter of well-established traditions (such as the forte transition or the piano second theme).
The text discusses these topics of sonata form dynamics and their relationship with other parameters (harmonic and thematic structure). It shows the key role of the 18th-century symphony for establishing these topics which were soon imitated in piano and chamber music. The main focus is laid on the essential stages of the classical exposition, on different strategies of the resulting dramaturgy and on the characteristic changes of both during the ‘long 19th century’.

2024, Harmonia: Journal of Arts Research and Education

Proverb sits under the umbrella of figurative language and is used to sweeten speeches. In Malay, pepatah is the equivalent of this form of figurative language. Razak Abdul Aziz, a Malaysian composer, selected a set of Malay proverbs and adapted them into his piano work, Pepatah Episodes. The composer follows the tradition of piano programme music that uses figurative language elements championed by composers such as Alexander Scriabin, Claude Debussy, and Maurice Ravel. This paper aims to investigate the pepatahs chosen to be paired with the written music, expounding the programme in the movements for piano. Using the programme music analysis framework by Burkholder et al. (2014) and Kregor (2015), the finding shows that the composer chose the pepatahs for one of the three (3) portrayals: (i) imageries in the pepatah (ii) imageries in the meaning, and (iii) imageries in pepatah and meaning. The programme analysis shows that from the nine (9) movements written for piano, four (4) movements portray imageries in the pepatah, three (3) movements portray imageries in the meaning, and two (2) movements portray imageries in the pepatah and meaning. Razak Abdul Aziz challenges the conventions of programme music by having the pepatah set after the music is written, demanding the performer to read it aloud before performing and having the portrayal of the pepatah in the mentioned ways. This provides a different perspective for other composers to produce works using similar frameworks and scholars to analyse musical works.

2024

This dissertation is divided into two parts. The first part (2. VIENNA AND CZECH LITERATURE) is devoted to the interaction between the city of Vienna and modern Czech culture, primarily literature. The second part (3. VIENNA AND CZECH SLAVIC STUDIES) is oriented toward the problematic of the history of Slavic Studies, the area of Slavic philology which, as a meta-discipline, deals with the self-reflection of its own subject. Specifically, both the initiative of the "Jagić concept" of Slavic philology for Czech Slavic Studies as it was eventually reflected in Karásek's specialized activities and the panoramic outline of the way in which Jagić's work was perceived and absorbed in the Czech surroundings are the subject of consideration. However, this study is not a "classic" monograph in the narrow sense of the word. Josef Karásek, who was a literary historian, editor, translator, and promoter of Slavic literatures in the German-speaking world, was not a cen...

2024, Current Musicology

Berlioz's Romeo au tombeau des Capulets, the sixth movement of his symphony Romeo et Juliette, is arguably his most controversial programmatic work and one of the most baffling pieces of program music in the repertoire. When the symphony premiered in 1839, Berlioz's instrumental setting of the tomb scene from Shakespeare's play (with David Garrick's ending, in which Juliet wakes before Romeo dies) (1) was criticized for being incoherent because it had no conventional formal scheme, used avant-garde musical language, and boasted drastic shifts in style and mood. It was also criticized for being too literal because of its blatant musical depictions of dramatic acts, including Romeo's drink from the vial of poison and Juliet's suicidal stab. (2) Jules Maurel called the piece a "mistake" and argued that one would need "a stage, scenery, tombs, theatrical half-light, and people speaking and acting" to understand it (Maurel 1839). Berlioz's ...

2024

Few aspects of Berlioz's style are more idiosyncratic than his handling of musical form. This book, the first devoted solely to the topic, explores how his formal strategies are related to the poetic and dramatic sentiments that were his very reason for being. Rodgers draws upon Berlioz's ideas about musical representation and on the ideas that would have influenced him, arguing that the relationship between musical and extra-musical narrative in Berlioz's music is best construed as metaphorical rather than literal - 'intimate' but 'indirect' in Berlioz's words. Focusing on a type of varied-repetitive form that Berlioz used to evoke poetic ideas such as mania, obsession, and meditation, the book shows how, far from disregarding form when pushing the limits of musical evocation, Berlioz harnessed its powers to convey these ideas even more vividly.

2024, Svensk tidskrift för musikforskning – Swedish Journal of Music Research

Towards the end of the 1800s, interest in sports and physical education increased in Sweden. One consequence of this is that music linked to sports in many different styles and by a disparate group of composers of character pieces and... more

2024, Musicalia

In this article, we are presenting some valuable acquisitions of recent years, which have enriched the holdings of the Czech Museum of Music. In this year’s issue, we are focusing on the collections of the Department of Musical... more

2023, Harmonia: Journal of Arts Research and Education

2023

Ve své práci se zaměřím na chrámové skladby J. A. Reichenauera, které jsou dnes v majetku Národního muzea - Českého muzea hudby (dále jen České muzeum hudby).' Jde o prameny ze svatomikulášského fondu z malostranské jezuitské koleje u kostela sv. Mikuláše, které se do dnešních dnů dochovaly díky sběratelské činnosti O. Horníka.2 Tyto hudebniny významně doplňují naše poznání o tvorbě pražských skladatelů a hudebním provozu na počátku 18. věku v Praze. Powered by TCPDF (www.tcpdf.org

2023, DergiPark (Istanbul University)

Senfoni orkestraları dışındaki armoni orkestrası, bando, big band, wind orkestrası ve fanfar orkestrası olarak bilinen müzik topluluklarında kornet, melofon, melofonyum, Wagner tubası, helikon, cimbasso, suzafon, ofikleid ve serpent gibi nadir kullanılan ve az tanınan üflemeli çalgılar da kullanılmaktadır. Söz konusu bu bakır üflemeli çalgılar hakkında yapılmış olan akademik çalışmalar oldukça yetersizdir. Bu nedenle, adı geçen bakır üflemeli çalgıların yakından incelenmesi, ilgili müzik çevrelerine daha iyi tanıtılması, çeşitli müzik topluluklarında daha kolay yer bulması ve az tanınan bu çalgılara da eser yazılmasına teşvik edilmesi amaçlanmıştır. Bu çalışmada kornet, melofon, melofonyum, Wagner tubası, helikon, cimbasso, suzafon, ofikleid ve serpent bakır üflemeli çalgıların doğuşkan sesleri ve pozisyonları, çeşitli referanslar ve görsellerle desteklenerek daha yakından tanınır hale getirilmeye çalışılmıştır.

2023, Deepawali (annual)

Geetvarsha was Kumar Gandharva. Analysis of the tripartite musical structure and its 'programme music' nature. Comparison with a trilogy of plays. A personal expression of a collective experience of the monsoon of Madhya Pradesh and surrounding areas. Creation of a unified experience in the following phases of monsoon : absence, beginning, growth, ebbing and triumphant exit.

2023, Northwestern Dissertation

Joachim Stutschewsky (1891−1982) played an active role, as composer, performer, researcher, and promoter, in the development of a Jewish national school in music in the 20th century. As an active cello performer, who was also a founding member of the famed Viennese String Quartet, his compositions in the Jewish art style for cello and piano are a major part of his work. Therefore, an examination of Stutschewsky’s “ Jewish Cello” repertoire reflects both his personal compositional development, as well as important phases of the evolution of a Jewish national school in music in the 20th century. This study examines Stutschewsky’s views regarding the essence of Jewish music and its characteristics. It also examines the application of his views in his actual works for cello and piano in the Jewish style. In order to better understand the compositions, this study provides the necessary biographical background and traces the development of Stutschewsky’s ideology throughout the major periods of his creative life: the periods in Zürich, Vienna and Israel periods.

2023, Musicalia

The article is devoted to one of the first modern conceptions of a music museum within the framework of Czech or Czechoslovak ideas on musical museology. This conception originated with the musicologist Vladimír Helfert. The article follows the development of Helfert’s conception, which was realised primarily in the form of the Musical Archive of the Moravian Museum. The article also identifies the constant features of that conception. Helfert conceived of a music museum (“musical archive”) as a basic institution facilitating work on musical historiography, meaning the compiling, cataloguing, and protecting of musical artefacts (especially two-dimensional artefacts), and their presentation of to the expert community.

2023, in Ernst Burger (a cura di), Franz Liszt nelle fotografie d'epoca collezione Ernst Burger

2023, Diploma thesis

Tato diplomová práce pojednává o hudebním skladateli Jiřím Bártovi, jeho díle a Cameratě Brno. Zabývá se osobností Rabíndranátha Thákura a jeho dramatem Čitrángadá. Stěžejní částí práce je kapitola o opeře Čitra a hudebně teoretická a... more

2023, Bohemica litteraria

Disputes of Hanuš Věnceslav Tůma with Prague reviewers The analysis of selected literary reviews deals with Hanuš Věnceslav Tůma, a forgotten poet whose debuts faced sharp criticism in the first months of 1872. Several important representatives of Czech literary milieu opposed Tůma, pointing out the low aesthetic value of his works. The study focuses on circumstances of the time, uncovering the significant distaste of cultural center representatives for manifestation of emancipation in region-based literary periphery. This dichotomy exhibits one of the structural features of the contemporary literary field and a significant factor influencing the critical reception of this field's production.

2023, Poétesses symphoniques (Jolas / Bonis / Holmès / Boulanger), Orchestre national de Metz Grand Est, La Dolce Volta

French / English. A-t-on besoin de savoir, avant de l’entendre, si une oeuvre a été composée par un homme ou une femme ? Cette information change-t-elle notre écoute ? Influence-t-elle notre jugement ? Do we need to know, before hearing... more

2023, Musicologica Brunensia

One of the important research topics of Czech musicology is the issue of the clash of free-thinking composers with the ideologically distorted cultural policy of the Czechoslovak communist regime (1948-1989). Czech composers in exile were destined to be erased from the collective historical memory. Reconstruction of their work, life and significance in the context of contemporaries is therefore one of the basic tasks of caring for the heritage of musical culture. Seen from Czechoslovakia, composers in exile could be perceived by their colleagues as cowards, or their foreign career could become a subject of envy. Seen from the other side, the external view of the politically deformed Czech music culture is very valuable for the objective reconstruction of the local situation. The study of exile music culture often tells far more about our own history than about the fates of exile composers.

2023

In the United States, Italian, French, German, and English language operas are most often performed, both professionally and in collegiate settings. However, operas by Czech composers such as Leoš Janáček, Bedřich Smetana, and Antonín Dvořák have been performed in major American opera houses over the course of the last decade. The Metropolitan Opera, San Francisco Opera, and Lyric Opera of Chicago, the three largest companies in the country, have mounted Czech productions in previous seasons. Regional companies have delved into this new territory with positive outcomes, such as when the Opera Theatre of St. Louis staged Smetana's The Kiss (Hubička) in 2013. The Juilliard Opera Center,

2023, ZAPLETAL, Miloš. Nad Štědroňovou minioperou o Mendelovi. Opus musicum 2022, roč. 54, č. 3, s. 100–103.

2023, ART-SANAT

Müzik felsefesinin en önemli konularından biri, vokal (söz içeren) müzik ve enstrümantal (söz içermeyen) müzik arasındaki farktır. Zira, müzik söz içermediğinde soyut ve saf bir özellik sergilerken, daha somut olarak nitelendirilebilecek edebi ifadeleri içeren sözlü müzik daha farklı felsefi dinamikler göstermektedir. Bu çalışmada, geçmişten bugüne filozofların düşüncelerinden yararlanılarak sözsüz ve sözlü müzik arasındaki felsefi farklar irdelenecektir. Bu düşünceler, batı müzik felsefesi ve seçilmiş bazı filozoflar ile sınırlıdır. Çalışmada irdelenen düşüncelerin müziğin hayatlarımızdaki anlam ve değeri üzerine düşünme ve tartışma olanağı sağlayacağı umulmaktadır.

2023, ZAPLETAL, Miloš. Hudebně-muzeologické myšlení od 18. století do roku 1945. Opava: Slezská univerzita v Opavě, Filozoficko-přírodovědecká fakulta v Opavě, 2022.

The book brings a diachronic overview of music-museological thought, with special focus on the Central-European territory, which was the discipline’s hotbed until recently. Attention is paid to ideological (not merely but also... more

2023, Musicologica Brunensia

This article focuses on selected details of the deep relationship between Antonín Dvořák and Leoš Janáček, which began during Janáček‘s studies at the Prague Organ School in 1874–1875. The paper discusses Janáček‘s detailed analyses of Antonín Dvořák‘s four symphonic poems based on the ballads by Karel Jaromír Erben, which demonstrate the creative parallels between the two composers, as well as Brno performances of the symphonic poems during Dvořák‘s lifetime and reflection in the contemporary press. The article also shows that Janáček, in analysing the symphonic poems, made use of his work on the theory of speech melody, and that he became the first theorist of Dvořák‘s work.

2023, Musicologica Olomucensia

2023

1 Abstract This Master's thesis presents the first look into the music of Scottish-Czech composer Geraldine Mucha (1917-2012) which has never been subject to academic study before. I characterize her compositional style and musical language, as well as their development over time, by analyzing four orchestral compositions written between the 1940s and 1980s - Overture to Tempest, Piano Concerto, Suite from the ballet Macbeth and John Webster Songs. In the thesis, I am also introducing the - in Czech musicological context entirely unknown - discourse on the issue of musical analysis of pieces written by women composers and I critically explore its different strands of thought. When possible, I examine the selected pieces by using Ellie M. Hisama's theoretical model which claims that in women's music, evidence may be found that provides information about their specific female experience in the patriarchal world

2023, Opus musicum

The article, based on a study of sources on the genesis of the libretto of Dvořák’s Rusalka, puts into context and maps in detail the short period from the creation of the libretto of this opera, through its journey to other composers (Alois Jiránek, Oskar Nedbal, Josef Suk, Karel Kovařovic and J. B. Foerster), to its adoption by Antonín Dvořák. The main sources for this period are the correspondence of Jaroslav Kvapil, the librettist of Rusalka, with the composer J. B. Foerster and Jaroslav Kvapil’s memoirs. Towards the end of his life, Dvořák concentrated exclusively on opera and chose librettos based on fairy-tale themes. He was distrustful, however, of texts and took advice from the director of the National Theatre, F. A. Šubert and the music critic Emanuel Chvála, who eventually recommended the text of Rusalka from the pen of the young writer Jaroslav Kvapil. Before Christmas 1899, the writer decided to offer the libretto, through the director Šubert, to Dvořák who eventually accepted it.

2023, Atlas Tarih

In this article Emre Aracı tells the fascinating story of the donation made by Sultan Abdülaziz to the construction funds of Richard Wagner's Festival Theatre in Bayreuth, (In Turkish). Emre Aracı, Sultan Abdülaziz'in Richard Wagner'in... more

2023, Quaderni d’Italianistica

Questo articolo indaga il tema della notte e la funzione poetica del personaggio di Faust all'interno delle prime sezioni dei Canti Orfici ("La Notte" e i "Notturni") di Dino Campana. Campana dichiarò di voler fare del suo libro un "piccolo Faust," e nomina proprio Faust come io-lirico della "Notte." Inoltre, sono presenti espliciti richiami testuali alla scena "Notte di Valpurga" della tragedia goethiana, parzialmente tradotta da Campana in una lettera del settembre 1917. In entrambe le opere, la notte permette la violazione dello status quo e consente all'io di valicare i propri confini. Se il notturno faustiano presenta continue metamorfosi e/o travestimenti dei personaggi in scena e include un rituale d'iniziazione cui lo stesso Faust prende parte, la notte campaniana diventa luogo e momento di trasformazione, secondo modalità carnevalesche, e di iniziazione ai culti misterici, che verranno studiate e approfondite nell'articolo.

2023

С. М. Ляпунов принадлежит к числу тех композиторов, чье творчество было недооценено еще при их жизни, во многом такое положение сохраняется и в настоящее время. При этом критиками и музыковедами не замечались явные противоречия в оценках... more

2022

Na pozadi recepce Straussova dila se přitomna prace snaži vymezit vztah Leose Janacka a Richarda Strausse. Leos Janacek se živě o Straussovo dilo zajimal, což doklada straussovska literatura v jeho knihovně a citace ze Straussových děl v... more

2022, In Terms of Orchestral Interpretation Musical Character Analysis of Specific Scenes Chosen From The Movements of Fantastic Symphony

This study attempts to refine how Hector Berlioz's form-music-program interact and aims to examine in terms of orchestral interpretation musical character analysis of Fantastic Symphony. Orchestral conducting directly includes the ideas and statements – musical, dramatical and philosophical – alleged in the examination. Orchestra conductors will be able to make more prominent theatrical and musical expression of the symphony along with the interpreted elements.
Berlioz, with his perfect composition talent and used elements for enriching orchestral music, was brought a dramatical dimension into the symphonic music. At the present, Fantastic Symphony has lost nothing of its musical worth and meaning, due to the dramatical structure of the symphony.
As a result of the literature, it has been inadequate either any publishing or academical study made about Berlioz and Fantastic Symphony. İn mentioned areas, it is thought that this study will bring a different view in.

2022, Musicologica Brunensia

The study deals with "civilist" [civilistní] tendencies in music and musical culture of the interwar Czechoslovakia. The "civilism" [civilismus] in literature had its parallels in other areas of Czech artistic production too, especially in visual arts, and later-after the First World Waralso in classical music. Since the culture of the First Czechoslovak Republic (1918-1938), being seen in its entirety, appears to be saturated with various reflections of modernity (either real modernity or imagined), the term "civilist" makes sense only when it refers to such works of art that unilaterally focus on representing the typical civilizational and civil moments and realities of the 1920s and 30s: sports, physical education and other leisure activities, jazz, tango and popular musical culture in general, attributes of the metropolitan environment, technical devices, machinery, cars, motorcycles, klaxons, airplanes, film, cabaret, circus, bar and cocktails, and various aspects of everyday urban life. Although the civilist tendencies represent a crucial and typical phenomenon of Czech music and musical culture of the inter-war period, musicology has reflected them only very little and has not approached them as a particular research problem so far. The present study proposes hypotheses and methodology for a future research on musical civilism, gives an overview of contemporary discourse about musical civilism, and presents the most important musical works and topics which the future research should focus on.

2022

The study comments on the book of Vladimir Helfert Czech modern music (1936). At the time of its release, the book met with a rather great interest of the wider, music loving, public. Until that time there was no local synthetic work concentrated on the newer and present production which largely coincided with cultural history of the new State. In this regard the book had a groundbreaking role because for the first generations of readers it could be and perhaps, against the original intention of the author, was a clear guide of the current production. In time this utility value was necessarily lost and its significance was exceeded by current guide books, music dictionaries and extensive synthetic works. There is nothing surprising on the fact that some of the ideas become obsolete over time. This applies double for the data that are being improved over time and then put into new contexts. If we focus our attention only on the informational value, we necessarily push everything else into the background. Despite some inaccuracies and misleading information Helfert's work still preserved its importance. The reason is obvious. In addition to the influx of rich material, the book opens inspirational methodological perspective on the inspected subject.

2022, Studia Musicologica

Sposalizio, the piece opening the “Italian year” of Franz Liszt's Années de pèlerinage (first published in 1858), is one of the most analyzed and interpreted compositions in this piano cycle. Much attention has been paid to its connection with the painting of the same title by Raphael, which was printed as an internal title page for the piece's first edition at the explicit request of the composer. This connection has inspired many studies on the relationship between image and music, reinforcing the notion of Sposalizio as a musical realization of Raphael's painting as seen by Liszt for the first time in February 1838 at the Pinacoteca di Brera in Milan. Adopting a critical view of the hermeneutical tradition, which has an impact on the interpretation of the piece still today, and assuming that its composition began in Weimar only around 1848, the article proposes an alternative reading of the piece. By connecting pictorial and musical elements, Sposalizio seems to evoke...

2022

Předkládaná magisterská práce s názvem "Otakar Šourek (1883-1956) a jeho hudebně kritické působení" se zabývá osobností Otakara Šourka, autora dosud nejobsáhlejší monografie o Antonínu Dvořákovi. Šourek hrál v hudebním životě 1. Československé republiky (1918 - 1938) významnou roli. Byl aktivní v mnoha hudebních institucích, přispíval hudebními kritikami, recenzemi a studiemi do mnoha periodik, publikoval knihy. Na základě popisu Šourkova veřejného působení a jeho angažmá v několika hudebních "aférách" první republiky se práce pokouší zhodnotit Šourkovo postavení v hudebním životě této doby a charakterizovat ho jakožto hudebního kritika. Práce je založena na studiu části pramenných materiálů z pozůstalosti Otakara Šourka, uložené v Národním muzeu - Českém muzeu hudby a na studiu dobového periodického tisku. Klíčová slova: hudební kritika, hudba, hudba 1. pol. 20. století, 1. Československá republika, meziválečné období, Otakar ŠourekThe presented Master's the...

2022, Elektronik Sosyal Bilimler Dergisi

Wagner, Alman bestecisi, müzik ve sahne sanatları alanında önemli bir estetik kuramcısıdır. Onun düşünce dizgesinde Alman mitoloji geleneği, mutlak idealizm ve diğer bir yönüyle de Schopenhauer'un pessimist felsefesinin izleri görülür. Wagner müzikli dramları, Grek tragedya sanatının altın çağındaki sanatsal sentezi yeniden oluşturmak ideali ile ortaya çıkar ve bütün sanatların birlikteliğinden hareketle yeni bir birleşik sanatlar kavramını ortaya atar. Wagner, bu kuramını "Gessamkunstwerk" olarak açıklar. Müziğin, şiirle olan sentezi sonucunda en yüksek trajik sanatın yeniden oluşturacağı ve bu sentez sayesinde sanatların yeniden özgürleşeceğine vurgu yapılır. Wagner, müziği, sadece müzik olarak ele almaz. Onda müzik "kendinde ve kendisi için varlık" alanı olarak değerlendirilir. Wagner müziği felsefi bir paradigma tarafından belirlenir. Bu paradigma, bazı dönemlerde Schopenhauer-Budizm bazı dönemlerde ise mutlak idealist bir noktada gelişir. Bütün operalarında var olan "mitsel ve metaforik" anlam katmanları ve "sonsuz ezgi kavrayışı" onun eserlerini "geleceğin müziği" olarak bugüne yöneltmiş ve Wagner ismini bestecilik yanında bir filozof olarak da anılma noktasına getirmiştir. Sanatların ve kültürün çöküşüne bir deva olabilecek kurtuluşun yine ancak sanattan hareketle kurulacağına inanan Wagner çöküş çağının nihilizmine karşı yaşamsal bir estetizasyonla "sanatsal nihilizmi" ön plana çıkartmaktadır. Bu incelemede Wagner müziğinde var olan metafizik yaklaşım ve felsefi kavramların hangi düşünsel sistem ve yapısal dizgelerden kaynaklanıp geliştiğini, bu gelişimin sonunda Wagner müziğinin yeni bir estetik kurama dönüşerek müziksel ideayı, nasıl değiştirip felsefi temellere dayandırdığının analizi yapılmıştır. Bu noktada Wagner'in operaları salt bir opera olarak ele alınmaz, çünkü onlar özel bir felsefi ve estetik kuramın yansımalarıdır. Bu incelemede Wagner müziğinin idealist-metafizik içerik ve çağrışımlarla gelişerek "Đstencin Budistik Olumsuzlanması" noktasında Schopenhauer ve Budizm ayrıca Aristoteles, Kant ve Hegel düşüncelerinden aldığı etkileri de tartışmaktadır.

2022

/Users/utente/Desktop/TESI pdf/11 - TESI Pier (Abstract definitivo).pdf

2022, Journal of Musicological Research

Despite considerable progress in many areas of Mendelssohn research in recent decades, his approximately 135 solo songs still require a reappraisal. To date, the relatively few studies that have considered the songs either have approached them from the perspective of the highly dramatic song aesthetic cultivated by Schubert, Schumann, and most composers of the later nineteenth century, or have considered them purely in terms of musical style, treating them as modestly romanticized extensions of the song aesthetic of the so-called Second Berlin School (most prominently represented by Mendelssohn's teachers Carl Friedrich Zelter and Ludwig Berger). However, the determining factor for both Mendelssohn's song aesthetic and the later reception of his songs was neither an inherently nondramatic approach to the genre nor a historically outmoded musical aesthetic. It was, rather, a profound skepticism regarding the communicative abilities of verbal language and the firm belief in music's ability to communicate in a fashion that was both universal and consummately subjective-a view less consistent with the Enlightenment ideas of Hegel (who is typically cited as the source of Mendelssohn's song aesthetic) than with the more romantic perspective espoused by Schopenhauer. This interpretation is borne out by a comparison of the text/music relationships in a well-known Mendelssohn Lied ("Ferne," Op. 9 no. 9) and those in an extraordinarily dramatic unpublished song cycle composed in 1830. Despite considerable progress in recent decades, 1 sizable aspects of the life and works of Felix Mendelssohn Bartholdy (1809-1847) remain largely unexplored in the scholarly literature. Far from being limited to Albumblätter from the composer's later years, composi-1. Significant recent developments in Mendelssohn scholarship include Peter Mercer-Taylor's new full-length biography The Life of Mendelssohn (Cambridge: Cambridge University Press, 2000), several important collections of essays and mem-278 JOHN MICHAEL COOPER tion studies, or occasional pieces, 2 these works include numerous compositions that were central to the respect and acclaim afforded Mendelssohn during his lifetime and for some time afterward. Perhaps most conspicuous among these compositions are his approximately 135 solo songs and, with them, his song aesthetic in general. 3 Mendelssohn's solo Lieder span his entire creative life. His first works in the genre were written when he was ten years old and his latest ones were completed and published late in 1847 as a bereft cycle after the death of his beloved sister, Fanny 4 ; during this entire oirs, new inventories of the music and its sources, and numerous critical editions. For an overview of these contributions and an assessment of earlier ones, see J.

2022, Roles and Performances in Apuleius’ Metamorphoses

Dvořák's last opera Armida to the libretto of Jaroslav Vrchlický (on the motives of Jerusalem Delivered by Torquato Tasso) has remained practically forgotten to this day. The negative public and critical reception of the 1904 premiere meant that Armida had only a brief initial run before being pulled from the National Theatre's repertoire. The myth-veiled work was abandoned until the arrival of a new political regime and a new artistic generation, which endeavoured to enter Dvořák's opera into the repertoire of Czech theatres. The most prominent of these efforts was Ostrčil's production of Armida at the National Theatre in 1928, but even that failed to secure a decisive victory for Armida. The critics questioned the quality of the libretto and the overall dramatic structure of the opera. They also discussed the style, the choice of exotic theme, and the stage design, which went against the essence of Wagnerian drama and "grand opera".