Suchergebnisse

This chapter chronicles the influence of Jorgensen's writing in a graduate choral music education course. Jorgensen's book chapter, On Spheres of Musical Validity (2005), becomes the focal point for an examination of the legitimacy of five major influences on music education: family, religion, politics, the music profession, and commerce. This investigation leads to consideration of these influences in graduate students' personal lives, classrooms, rehearsal halls, and the broader profession of choral music education.

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. ; 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.

During the relatively short time between the two World Wars, Serbian society in the sphere of politics, economic and social aspects underwent a fast and fundamental transformation from a patriarchal structure towards a modern urban profile. Open both to East and West, the state invested a great deal in the international education of the younger generations and immediately the progressive new intellectual elite with great enthusiasm began to invest back in the general evolution of the country. Through the spirit of this time, one crucial, almost mythological question was raised again: "Are we (Serbs) going to be East in the West, or West in the East or, if we want to have our own place in Europe and the world, we should seek for a third way, our own synthesis with roots planted somewhere down in this crossroads of the two worlds?" The main musical question of the second and third decades of the 20th century, as regards the aspects of a national style, was based on domestic or international grounds: first of all, this meant artistic stylization and performance of folk songs, or creative impulses towards "imaginative folklore" without direct quotations, and, secondly, composing according to the models of Western art music. Influential artists claimed that only the individual transformed artistic reality of one period could bring discoveries without pure repetition. In the terms of relations to European artistic movements, Serbian culture finally moved from the position of follower to that of active participant.

In South Africa, choral music has been prominent in schools, churches, and community choirs since the 19th century. However, the majority of South Africans know little of the history of indigenous choral music. This study investigates the origins of South African indigenous choral music, its canonic figures, and their contribution to this genre in promoting an African identity among the indigenous people of South Africa. Using the methodological lens of historical ethnomusicology, this thesis explores the genesis of choral music in South Africa. Choral music was introduced to the region when it was first colonised by the Dutch East India Company in 1652. Missionaries established institutions in the villages of the local people and translated the Bible and hymn books into the local languages. These actions had lasting consequences for music, and choral singing was greatly advanced. In addition, in this work early composers of South African indigenous choral music are recognised in an effort to establish a choral canon. Three definitive choral periods are recognised, namely those of the first-generation, second-generation, and post-colonial composers. Using this historical framework, this thesis investigates the social and political influence these composers had on African identity during the liberation struggles in the late colonial era and during the early apartheid period. The history and compositions of the composers are discussed, including how they used their compositions as political tools and as mouthpieces to communicate societal issues of concern to the indigenous people during and after the colonial era. ; Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021

The printing of Lithuanian songs and psalms began in Lithuania in the 19 th century already, at the time of the press ban introduced by the tsar government. Illegal Lithuanian newspapers "Aušra" (The daybreak, 1883–1889), "Tėvynės sargas" (The guard of the Fatherland), "Žinyčia", "Varpas" (The bell), published in Tilsit, printed the first melodies of Lithuanian songs and psalms. In Tilsit in 1889 Lithuanian mass by J. Kalvaitis was published as well as multi-voices psalm book – for the catholic churches. For Lithuanian protestant churches "Giesmių balsai" (Psalm voices) by W. Hofheinz was published in 1894. In 1895 the first collection of Lithuanian folk songs for the choir Kanklės by V. Kudirka was published. Until World War I 18 collections of Lithuanian psalms and songs were published all in all. In them, including the periodicals, up to 500 songs and psalms with the Lithuanian text were published. Besides, composer Č. Sasnauskas published his own Lithuanian choral music, Requiem and other sacral works with the Latin and Russian text in St. Peterburgh. On 13th September 1865 when the tzar government introduced the ban on the national press in Lithuanian, all the Lithuanian alphabet printing houses were closed down, printing presses were destroyed. Lithuanian illegal press, including the notes was published in East Prussia in Tilsit. Here 11 Lithuanian works with notes were published until World War I, as well as 4 in Kaunas, 3 in Seinai, the rest in Heidelberg, Warsaw, Helsinki. The notation culture of the publication is different, because the quality of the notes' publishing depended on the clients' budget and possibilities to choose the way of printing. In Kaunas in 1906 Lithuanian church psalm book by J. Naujalis was published. It was in general the first Lithuanian catholic psalm book with notes for the choir and the organ. The Psalm book generalized the reform of the church music introduced at the beginning of the 20th century. As since the ancient times there music had been a lot of psalms of Polish origin sing in Lithuanian part of them was harmonized by J. Naujalis and included into his Psalm book. In this way the Psalm book reflected the convergence of Lithuanian–Polish singing tradition conditioned historically. J. Naujalis the Psalm book printed in M. Sokolovski and A. Estrin publishing house apparently became not only the beginning of the Lithuanian notes publishing in Lithuania, but also the sample of high quality notation culture. It is shown by the comparative analysis of the Lithuanian psalm booksong. The Psalm book was not published for the second time, because its psalms which literary text constantly improved appeared in other psalm book. ; Klaipėdos universiteto Chorvedybos katedraK. Donelaičio g. 54, LT-92144 Klaipėda, LietuvaEl. paštas: gudelis.r@gmail.comJuozo Naujalio Lietuviškas bažnytinis giesmynas – pirmasis lietuvių katalikų giesmynas daugiabalsiam chorui – buvo išleistas 1906 m. Kaune netrukus po spaudos draudimo atšaukimo. Daugelis jame paskelbtų giesmių, litanijų bei lotyniškų antifonų ir dabar yra giedama bažnyčiose, o kai kurios iš jų įrašytos į plokšteles. Nors Lietuviškas bažnytinis giesmynas savo istorine reikšme prilygo pirmiesiems Vinco Kudirkos ir Vydūno lietuviškų liaudies dainų rinkiniams chorui, dėl įvairių priežasčių jo istorinė reikšmė buvo nutylėta. Dėl to giesmyno vaidmuo tautos kultūroje turi būti iš naujo peržiūrėtas ir adekvačiai įvertintas. Pirmieji lietuviškų dainų ir giesmių rinkiniai chorams buvo išleisti Tilžėje. Lietuviškas bažnytinis giesmynas išleistas Kaune, M. Sokolovskio ir A. Estrino spaustuvėje, pradėjo lietuviškų gaidų chorui leidybą Lietuvoje. J. Naujalio giesmyną lyginant su kitais pirmaisiais lietuviškais choriniais leidiniais, atsiskleidžia gana aukšta jo notografinė kultūra. J. Naujalis, susisteminęs įvairias muzikines giedojimo formas (litanijas, psalmodijas, giesmes, antifonus ir t. t.), pateikė diferencijuotą ir menkai išsilavinusiems parapijų vargonininkams suprantamą notografijos būdą. Lietuviškas bažnytinis giesmynas apibendrino XX a. pradžios bažnytinės muzikos reformos ir tautinio atgimimo siekius, turėjo aktualų mokomąjį ugdomąjį pobūdį, padėjo keturbalsio chorinio giedojimo bažnyčiose metodinius pagrindus. Todėl neginčijama jo istorinė reikšmė chorinės muzikos leidyboje ir tautos muzikinėje kultūroje apskritai.

This paper discusses the role of choral institutions in Plato's ideal polis. In the fourth century BC, choral competitions were a key site of political discourse in Athens, exposing the conflicts inherent to the use of aristocratic patronage in a democratic system. As the demos embraced new musical practices, aristocrats critiqued these changes as a proxy for their opposition to democracy itself. Plato, operating firmly within the aristocratic tradition, placed choral education at the center of his ideal polis as a means to restore and cultivate aristocratic power. However, he also sought to use choral music as a means to rise beyond the aristocratic past, tempering power and honor with moderation and wisdom. His musical program acted as a means of social control, a clarification of social status, and a tool for moral formation of citizens, re-solidifying the aristocracy while transcending its faults.

Empowering Song: Music Education from the Margins weaves together subversive pedagogy and theories of resistance with community music education and choral music, inspiring professionals to revisit and reconsider their pedagogical practices and approaches. The authors' unique insight into some of the most marginalized and justice-deprived contexts in the world -- prisons, refugee shelters, detention facilities, and migrant encampments -- breeds evocative and compassionate enquiry, laying the theoretical groundwork for pedagogical practices while detailing the many facets of equity-centered, musical leadership. Presenting an orientation to healing informed by theory, Empowering Song explores the ways in which music education might take on the challenging questions of cultural responsiveness within the context of justice, seeking to change not only how choral music is led but also our conceptions of why it should matter to all.

This essay examines the labour of socialist music in the GDR, focussing on Choral Music No.5 (1976) of Paul Dessau. Famous for his collaborations with Brecht (he wrote music for Mother Courage and the opera The Condemnation of Lukullus ), Dessau was the most important avant-garde composer of the GDR. He passionately believed that only complex, modern music could convey the struggle(s) of socialism. This brought him into conflict with the authorities, who accused him of formalism. This essay examines this conundrum by focusing on Dessau's synthesis of aesthetic and political modernism, of Schoenberg and Brecht, and his use of quotation. Choral Music No.5 , a setting of Heiner Müller's distillation of a speech of leader Erich Honecker, reuses a musical cryptogram for the Socialist Unity Party (S-E-D) which Dessau first integrated into Lukullus . Dessau's piece is musically demanding and an embodiment of his belief in socialist music as rewarding hard work.