Suchergebnisse

This wide-ranging contribution to the study of nationalism and the social history of music examines the relationship between choral societies and national mobilization in the nineteenth century. From Norway to the Basque country and from Wales to Bulgaria, this pioneering study explores and compares the ways choral societies influenced and reflected the development of national awareness under differing political and social circumstances. By the second half of the nineteenth century, organized communal singing became a primary leisure activity that attracted all layers of society. Though strongly patriotic in tone, choral societies borrowed from each other and relied heavily on prominent German or French models. This volume is the first to address both the national and transnational significance of choral singing.

"Many people find sacred choral music profound and deeply evocative, even in societies that seem to be turning away from religious belief. In this book, Julian Perlmutter examines how, in light of its wide appeal, sacred music can have religious significance for people regardless of their religious convictions. By differentiating between doctrinal belief and the desire for God, Perlmutter explores a longing for the spiritual that is compatible with both belief and 'interested non-belief'. He describes how sacred music can elicit this kind of longing, thereby helping the listener to grow in religious openness. The work of Thomas Merton is also analyzed in order to show that musically-elicited desire for God can be incorporated into the Christian practice of contemplative prayer, aimed ultimately at a union of love with God. By exploring connections between desire, knowledge and religious practice, this engaging account illustrates how sacred music can have a transformative effect on one's wider spiritual life. Of particular interest to philosophers and theologians, the book makes a novel contribution to several topics including religious epistemology, the philosophy of emotion and aesthetics."--

Far from being a mere historical reconstruction of the complex and culturally conditioned zymology of tarantism, the aim of this paper is to highlight its dynamic diachronically. Originally came from Italy, tarantism and its dynamics couldn't be disjoined from its ancient concepts: cults, ritual possession, choral-music exorcism, that can be understood as a music therapy. In ethnomusicology standpoints, the particular significance would join the analysis of its from and its cultural aspect to elaborate the preservation of its choral nature or even its original ritual use in some maintained tarantellas. Through a cultural approach, this paper showed how, in the next period, political and economic development of these processes of capitalization resulting form of commodification focused in the aspects of dance and music. This lead to a decontextualization of the tarantula's symbol into ideological discourse that transformed into cultural heritage in order to give it the status of capital goods, to be launched in cultural market.

Foreword / Eric Acrofi, Maria Smit and Stig-Magnus Thorsén -- Introduction / Christine Lucia -- Iph'indela? Where is the way? Resurrecting an African Identity through popular music in the post-apartheid South Africa / Thembela Vokwana -- Singing the nation : negotiating South African identity through choral music / Nicol Claire Hammond -- Music in the Italian prisoner of war camps in South Africa during the second World War / Donato Somma -- Constructing the relevant listerner : power, knowledge and the construction of identity in the discourse of musical autonomy / Tobias Pontara -- The role of music in preserving the cultural identity of a migrant community : a case study of Duakor fisherman / Eric Akrofi ; Nicholas Kofie -- Encountering South African music from an Australian perspective : a kaleidoscopic voyage of discovery / Dawn Joseph -- Identity dynamics in popular and religious music : Mary Atieno and the International Fellowship Church Choir (IFC) / Jean Kidula -- Music and cultural identity among Kurdish musicians in Stockholm / Andreas Engström -- The colonial influence on music education in Ghana and South Africa -- Travesty of prophecy? Views of South African black choral composition / Christine Lucia -- The hymnic identities of the Afrikaner / Elsabé Kloppers -- Jazz in Drum, an ambiguous discourse: "Matshikeze" and the short stories in the 1950s / Leif Lorentzon -- Facilitating the formation of personal and professional identities of arts and culture educators / Maria Smit -- Tourism and cultural identity : conservation or commodification? / Minette Mans -- African music in global diasporic discourse : identity explorations of South African artist Johnny Mbizo Dyani / Patricia Achieng Opondo -- Reidentifying an auditory community : worship in an independent South African church / Christy M. Smith -- The musicians behind bars : can music help renew identities? / Zoliswa Twani -- Sweden in play with South Africa : personal musical experiences in postcolonial perspectives / Stig-Magnus Thorsén -- Storytelling as mediator between worlds / Sandie Malan -- Djembe, darbuka or drum set in music school -- cultural diversity in Scandinavian music education / Eva Fock -- Why localise a church's music? Musical change, meanings and cultural identities in the Evangelical Lutheran Church in Namibia / Jan Hellberg -- Intonjane music : a forum of identity formation for Xhosa women / Luvuyo Dontsa.

Codified at Salisbury Cathedral in southern England during the twelfth and thirteenth centuries, the Use of Salisbury, or Sarum Use, was an influential model of church structure and liturgy across England until the middle of the sixteenth century. Within this model, certain distinctive features are observable, including patterns of ritual observance in such liturgies as the Office of Compline, prayed at the end of the day. This study examines the structure of the Sarum Compline Office, and the phenomenon of polyphonic music created for its observance, during the forty-day penitential season of Lent. This thesis specifically explores ways in which early Tudor-era composers, in the shadow of the turbulent politics of the Tudor era, treated the ritual musically in terms of the creation and enactment of polyphonic music within the context of normative plainchant, in turn considering how the ritual format, architectural style, and acoustical characteristics of spaces such as Salisbury Cathedral impacted the performative contexts of this composed music. The study focuses on the following questions: (1) Based on ritual indications from both the printed sources of the period ca. 1500, and the older manuscript sources of Salisbury Cathedral, how was the chanted Office of Compline enacted liturgically, musically, and spatially, during the Lenten season? (2) What items of composed polyphony exist specifically for performance in the Sarum Use for Compline during Lent? (3) How did the use of this composed polyphony inform the ritual and liturgical ceremonial discussed above? (4) What do the ritual rubrics of Sarum Use have to say to us about the performance practices of the polyphony? (5) What do the local contexts of the parish church, cathedral church, university/collegiate chapel, and household chapel(s) bring to bear on the performance practices of this ritual music? The study concludes with recommendations for further research, and a performance edition of the plainchant for the Compline Office during the Lenten season, as well as transcriptions of selected polyphonic compositions (by John Taverner, John Sheppard, Robert White, Philip Alcock, John Norman, Philip ap Rhys, and John Redford) associated with the Compline ritual from the period ca. 1485-1558.

This wide-ranging contribution to the study of nationalism and the social history of music examines the relationship between choral societies and national mobilization in the nineteenth century. From Norway to the Basque country and from Wales to Bulgaria, this pioneering study explores and compares the ways choral societies influenced and reflected the development of national awareness under differing political and social circumstances. By the second half of the nineteenth century, organized communal singing became a primary leisure activity that attracted all layers of society. Though strongly patriotic in tone, choral societies borrowed from each other and relied heavily on prominent German or French models. This volume is the first to address both the national and transnational significance of choral singing. Contributors are: Carmen De Las Cuevas Hevia, Jan Dewilde, Tomáš Kavka, Anne Jorunn Kydland, Krisztina Lajosi, Joep Leerssen, Sophie-Anne Leterrier, Jane Mallinson, Tatjana Marković, Fiona M. Palmer, Karel Šima, Andreas Stynen, Dominique Vidaud, Ivanka Vlaeva, Jozef Vos, Gareth Williams, Hana Zimmerhaklová.

El presente trabajo tiene como objetivo sistematizar los referentes teóricos Cultura y Política Cultural sobre el desarrollo de los coros y la música coral. El que permitirá a partir del análisis crítico de las categorías antes mencionadas, un conocimiento sobre el desarrollo de la música coral y los coros en Cuba. Se hace además referencia a algunas acciones que han contribuido al desarrollo musical en el país, e incluye una breve información sobre la creación musical cubana, que tributan de forma latente a la música coral; así como los aportes, beneficios y desaciertos que ha tenido la música de concierto en el territorio nacional. En el trabajo se aprecia el sentido nacional, siendo analizada a partir de la implementación de la Política Cultural, su ejecución y aplicación en función del desarrollo de la música coral y los coros. Para realizar la indagación se utilizan métodos que permiten conocer y profundizar sobre el tema; en este caso se manejan el método histórico-lógico, la inducción-deducción y el análisis y síntesis. La investigación proporcionará un conocimiento sobre el desarrollo de la música coral y su influencia en el desarrollo cultural en Cuba; por lo que se puede concluir que el análisis crítico de los referentes teóricos, Cultura y Desarrollo Cultural, así como la aplicación de métodos cualitativos de forma eficaz y consciente, permiten demostrar que a pesar del largo y difícil camino que han recorrido los coros y la música coral en Cuba, forman parte del proceso de desarrollo de la cultura cubana. PALABRAS CLAVE: Cultura; Música Coral; Política Cultural. CULTURE AND CHORAL MUSIC, ONE WAY TO GO ABSTRACT This paper aims to systemize the theoretical framework Culture and Cultural Development Policy choirs and choral music. This will allow from the critical analysis of the above categories, to know about the development of choral music and choirs in Cuba. Reference to some actions that have contributed to the musical development in the country is well made, and includes brief information about the Cuban musical creation, taxed latently to choral music; as well as contributions, benefits and failures that had music concert in the country. At work the national sense appreciates being analyzed from the implementation of the Cultural Policy, its implementation and operation depending on the development of choral music and choirs. To make inquiry methods to meet and further reading are used; in this case the historical and logical method, induction, deduction, analysis and synthesis are handled. The research will provide an understanding of the development of choral music and its influence on cultural development in Cuba; so we can conclude that critical theorists concerning analysis, Culture and Cultural Development and application of qualitative methods effectively and consciously establish that despite the long and difficult road they have traveled choirs and choral music in Cuba, part of the development process of Cuban culture. KEYWORDS: Culture; Choral Music; Cultural Politics.

This qualitative study explores the intricate dynamics between students' passion for music and their motivation in higher education music performance classes. Guided by Self-Determination Theory (SDT) and Social Cognitive Theory (SCT), the research involves in-depth interviews with fifteen undergraduate music performance majors. The study identifies five pivotal themes shaping students' motivation. The theme of personal music connections emphasises the profound impact of individualised relationships with music, highlighting the significance of nurturing personal and emotional dimensions within musical connections. Exposure to diverse musical styles emerges as a transformative factor, broadening students' musical horizons and significantly influencing their motivation. Involvement in extracurricular music activities is identified as a powerful motivator, providing real-world experiences that enhance students' passion for music performance. The theme of supportive interactions highlights the critical role played by educators, peers, and the overall learning environment in shaping students' motivation. Cultivating a strong personal bond with music accentuates the profound impact of an individualised and emotionally resonant connection with music on students' motivation within the educational context. These findings underscore the vital role of cultivating enthusiasm, providing diverse musical experiences, and fostering supportive environments to enhance motivation in higher education music performance classes. The implications extend to educators, enabling them to design more engaging and effective music programs, enriching the overall educational experience for students.

The paper discusses choral singing as a form of extracurricular activity and teaching in elementary school. It considers the historical development of choral singing in order to highlight the continuity of its existence and importance in society and reviews the importance of choral singing in musical and overall upbringing and education of elementary school students. Authors analyze the curricula of grades I to IV in order to determine how much attention is given to choral singing. Didactic and methodological issues related to the formation of the choir in elementary school are reviewed, together with methodical approach for working with early grades choir, proper selection of the musical compositions and the role of teachers. Listed is the recommended choral literature to supplement the current curricula. Special attention was given to literature containing the Kosovo-Metohija folk songs, suitable for choral arrangement. Performing of these songs in a choral arrangement will contribute to stimulating the interest of students towards musical folklore of Kosovo and Metohija, and therefore its preservation and fostering. It is highlighted that singing in the choir contributes to the development of hearing, voice, harmonic feeling, a sense of rhythm, melody and group play. By mastering different compositions, students become familiar with valuable achievements of artist, spiritual and folk music. The significant meaning and importance of this kind of work is reflected in the possibilities of achieving the tasks of socio-moral education. Choral singing develops a sense of collective responsibility, conscious discipline, perseverance, endurance, helps establish a sense of understanding, mutual respect and tolerance, friendship and a sense of teamwork. Singing in the choir develops aesthetic attitude and taste in music. Students are trained to perceive and to value the true qualities of beauty, grace, harmony and authenticity in music. The value of this kind of work is also reflected in the capabilities of the development of work habits, work culture and discipline. Choral singing encourages emotional and psychological development of students. Group singing relaxes students, reduces stage fright and uncertainty, and promotes self-esteem. Singing variety of lyrics enables students to acquire knowledge, and form a more positive attitude towards life. Choral singing contributes to the development of skills and good habits, motivation of students to learn, self-education, self-development, encourages the development of attention, memory, concentration, thinking, contributing to the achievement of the goals of intellectual education. In addition to the educational influence on the members of the choir, it enriches also the listeners and contributes to their musical and cultural development, as well as the reputation and recognition of the school. It was concluded that the choir, as the largest form of collective music performance in elementary school, has an extremely important role in the musical and the comprehensive development of students, which is why it should receive much more attention in the context of elementary school extracurricular activities.

Relevance of the research topic. Music for children's choir is represented by a significant layer in the creative heritage of Ukrainian composers. However, children's choral music has hardly been considered in musicolo-gical research. Among the composers of the Kharkiv region, the choral works of V. Drobiazhina received special recognition. The lack of musicological research on the composer's work has determined the relevance of this work.
The purpose of the article is to analyze the peculiarities of the artistic aesthetics and compositional style of V. Drobiazhina's choral music for children.
The methodology of the theoretical analysis combines fundamental methods and approaches to modeling a holistic picture of the composer's children's choral heritage: genre-stylistic; functional-structural; systemic.
The results. The first collection "Merry Songs" for junior children's choir, was published in 1976. Jazz rhythms and harmonies, alternating recitation and singing, consonant intonation characterize this cycle. "In the Forest Workshop" is the most popular one among V. Drobiazhina's works, and it is performed by many children's choirs in Ukraine. The choir imitates the sounds of the winter forest and creates a premonition of spring. "Spring" is one of V. Drobiazhina's last compositions. The artist's extremely delicate sensual soul, passionate love for Ukraine and its musical culture are fully reflected here.
The scientific novelty of the research. The genre-stylistic aspect of V. Drobiazhina's choral music for children, the peculiarities of aesthetics and composer's style are highlighted in the article for the first time.
The practical significance of the article lies in the fact that these materials can be used in the courses "Choral Literature" and "History and Theory of Choral Performance".
Conclusions. Music for children's choir is one of the most outstanding pages of V. Drobiazhina's composi-tional heritage. The uniqueness of V. Drobiazhina's children's choral music lies in the combination of the extraordinary richness of the musical material with accessibility both for perception and performance. The composer's music organically combines Ukrainian national traditions with modern means of expression.

The article demonstrates different meanings of the motif of Hamlet in the Estonian culture. Hamlet as a literary figure has been very important and influential, a symbol of will and a fighter in a hopeless situation. Paul-Eerik Rummo's poem "Hamlet's Songs" (1964) forms the centre around which revolve not only written texts but also many such cultural texts as theatre performances and music, all connected by allusions to Hamlet. Rummo's poem is one of the most innovative poems from the 1960s in Estonian literature. The generation of the 1960s was influenced by several important contemporary theories, including existentialism. Many young writers systematically undermined the Soviet regime in their works. The use of the motif of Hamlet reveals a similarity between the existential and romantic rebellions. Rummo's dialogue with Hamlet in his poem expresses optimism in a hopeless situation in a way different from Shakespeare's.