The practice and composition of music require patronage and institutional support, and they require it in a different fashion from that found in other forms of art. This collection of essays brings together the most recent and important contributions by leading scholars in the field to this crucial aspect of Renaissance musical culture. The articles approach the topic from a number of perspectives and consider the institutions and individuals engaged in supporting music; the systems of employment, benefices and sponsorship put in place to facilitate the support; and where, how and why music was sung and played. Taken together, these articles enable conclusions to be drawn about the interests of patrons and about the social and artistic status of musicians and composers within the courtly and urban context. - Publisher
This author's bachelor's theses base this article. The purpose was to gather and systematise data on the metal music subculture in Lithuania and describe its fundamental features of identity. To compile this article, the method of observing the metalist subculture, in-depth interviews and a structures questionnaire were employed and 35 members were interviewed. The research was conducted in the cities of Kaunas and Vilnius from 2007 August to 2008 April. The data analysis establishes that the main components of the subcultural identity of metal music enthusiasts, here called "metalists", are worldview, music and the image and lifestyle they are creating. Metal music is the essential unifying factor of the subculture. It is distinguishable by its complexity, live performance and diversity of styles. The identity of the metal music subculture also relates to the image its members design that is meant to express the ideology of the subculture (e.g., black colour, long hair, preferences for military boots and leather and jeans-style clothing). The most frequently encountered symbols are related to rebellion against Christianity: the pentagram, upside-down cross, fire and different Pagan symbols. Such symbols are not only used as accessories on clothing but also for the logos the metal music groups use.[.]
This author's bachelor's theses base this article. The purpose was to gather and systematise data on the metal music subculture in Lithuania and describe its fundamental features of identity. To compile this article, the method of observing the metalist subculture, in-depth interviews and a structures questionnaire were employed and 35 members were interviewed. The research was conducted in the cities of Kaunas and Vilnius from 2007 August to 2008 April. The data analysis establishes that the main components of the subcultural identity of metal music enthusiasts, here called "metalists", are worldview, music and the image and lifestyle they are creating. Metal music is the essential unifying factor of the subculture. It is distinguishable by its complexity, live performance and diversity of styles. The identity of the metal music subculture also relates to the image its members design that is meant to express the ideology of the subculture (e.g., black colour, long hair, preferences for military boots and leather and jeans-style clothing). The most frequently encountered symbols are related to rebellion against Christianity: the pentagram, upside-down cross, fire and different Pagan symbols. Such symbols are not only used as accessories on clothing but also for the logos the metal music groups use.[.]
This author's bachelor's theses base this article. The purpose was to gather and systematise data on the metal music subculture in Lithuania and describe its fundamental features of identity. To compile this article, the method of observing the metalist subculture, in-depth interviews and a structures questionnaire were employed and 35 members were interviewed. The research was conducted in the cities of Kaunas and Vilnius from 2007 August to 2008 April. The data analysis establishes that the main components of the subcultural identity of metal music enthusiasts, here called "metalists", are worldview, music and the image and lifestyle they are creating. Metal music is the essential unifying factor of the subculture. It is distinguishable by its complexity, live performance and diversity of styles. The identity of the metal music subculture also relates to the image its members design that is meant to express the ideology of the subculture (e.g., black colour, long hair, preferences for military boots and leather and jeans-style clothing). The most frequently encountered symbols are related to rebellion against Christianity: the pentagram, upside-down cross, fire and different Pagan symbols. Such symbols are not only used as accessories on clothing but also for the logos the metal music groups use.[.]
Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.
Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.
Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.
Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.
The Philosophical Conception of Music in Classical Greece The phenomenon of music is one of the central aspects of Greek culture. The Greek word for music (mousikē) means the art of the Muses and is related to the literary and theatrical tradition. Its significance can be seen from the universal use in a huge variety of different social practices. This thesis aims to analyse the phenomenon not from the empiric evidence (the discourse of musical iconography and musicology is much more explored), but through the texts where music is reflected on the theoretical basis. Special attention is paid to the texts regarding philosophical considerations of music, in particular the writings by Plato and Aristotle, the musical tradition of Pythagorean thought (mostly reconstructed from the Corpus Pythagoricum) as well as the remarks related to the aforementioned traditions. It is argued that these texts were of highest importance in Classical Greece and their frame of reference became the starting point of conceptual music for the later authors. The concept of music is ambiguous on many levels even in the ancient Greek texts. There are two main traditions, one of which focuses on talking about the empirical music and another that conceptualises the phenomenon by connecting many other philosophical contexts, such as mathematics, harmony, ethics etc. Those which do not relate music to the philosophical background usually define music as an enclosed niche with autarchic laws, though this tradition is confronted with the question of how music can affect people, and these discussions often lead to the theoretical / philosophical contemplation. The tradition of Pythagoras is understood as the medium between the archaic and classical tradition of Greek thought. Their ideas about finding the basis of hidden, though fundamental, structure of the world leads to the claim that the number is the foundation of reality. The number has mystical philosophical relevance, but what is most important for the analysis of music, is that harmony of cosmos has the same numerical basis as musical harmony. Numbers define the laws of cosmos, as well as the laws of human soul and music becomes the representation of these laws both on sensual and theoretical level. In Classical Greek world music is not only the phenomenon of sound, it corresponds to the principles of profound nature and it could be understood only by invoking mathematical knowledge. Music is perceived as numerical and temporal phenomenon leading to the intellectual work of mind. The mathematical nature of music in relation to other elements of reality is further developed in Plato's Timaeus. Pythagorean theory of music and cosmos, mathematics and proportions, is described explicitly and the Timaeus' version of the universe can be seen as a tuned musical instrument. The dialectic of stability and change is also analysed both on the levels of cosmos and musical laws. The proportion establishes a diversity of elements and at the same time enables a clearly definable unified identity (that is argued to be one of the keystones for understanding any form of Greek art). The textual analysis of the terms ἁρμονία (harmonia) and συμφωνία (sumphonia) affirms the importance of proportion. Because of its numeric nature music can affect human soul that also has numeric nature, and through imitation of emotions make a huge influence on the level of ēthos, as well as on political and social life. Music might be invoked for both virtuous and vicious means, therefore, the regulation of the phenomenon and appropriate tradition-forming laws have to be implemented in the musical culture of society.
The Philosophical Conception of Music in Classical Greece The phenomenon of music is one of the central aspects of Greek culture. The Greek word for music (mousikē) means the art of the Muses and is related to the literary and theatrical tradition. Its significance can be seen from the universal use in a huge variety of different social practices. This thesis aims to analyse the phenomenon not from the empiric evidence (the discourse of musical iconography and musicology is much more explored), but through the texts where music is reflected on the theoretical basis. Special attention is paid to the texts regarding philosophical considerations of music, in particular the writings by Plato and Aristotle, the musical tradition of Pythagorean thought (mostly reconstructed from the Corpus Pythagoricum) as well as the remarks related to the aforementioned traditions. It is argued that these texts were of highest importance in Classical Greece and their frame of reference became the starting point of conceptual music for the later authors. The concept of music is ambiguous on many levels even in the ancient Greek texts. There are two main traditions, one of which focuses on talking about the empirical music and another that conceptualises the phenomenon by connecting many other philosophical contexts, such as mathematics, harmony, ethics etc. Those which do not relate music to the philosophical background usually define music as an enclosed niche with autarchic laws, though this tradition is confronted with the question of how music can affect people, and these discussions often lead to the theoretical / philosophical contemplation. The tradition of Pythagoras is understood as the medium between the archaic and classical tradition of Greek thought. Their ideas about finding the basis of hidden, though fundamental, structure of the world leads to the claim that the number is the foundation of reality. The number has mystical philosophical relevance, but what is most important for the analysis of music, is that harmony of cosmos has the same numerical basis as musical harmony. Numbers define the laws of cosmos, as well as the laws of human soul and music becomes the representation of these laws both on sensual and theoretical level. In Classical Greek world music is not only the phenomenon of sound, it corresponds to the principles of profound nature and it could be understood only by invoking mathematical knowledge. Music is perceived as numerical and temporal phenomenon leading to the intellectual work of mind. The mathematical nature of music in relation to other elements of reality is further developed in Plato's Timaeus. Pythagorean theory of music and cosmos, mathematics and proportions, is described explicitly and the Timaeus' version of the universe can be seen as a tuned musical instrument. The dialectic of stability and change is also analysed both on the levels of cosmos and musical laws. The proportion establishes a diversity of elements and at the same time enables a clearly definable unified identity (that is argued to be one of the keystones for understanding any form of Greek art). The textual analysis of the terms ἁρμονία (harmonia) and συμφωνία (sumphonia) affirms the importance of proportion. Because of its numeric nature music can affect human soul that also has numeric nature, and through imitation of emotions make a huge influence on the level of ēthos, as well as on political and social life. Music might be invoked for both virtuous and vicious means, therefore, the regulation of the phenomenon and appropriate tradition-forming laws have to be implemented in the musical culture of society.
The Philosophical Conception of Music in Classical Greece The phenomenon of music is one of the central aspects of Greek culture. The Greek word for music (mousikē) means the art of the Muses and is related to the literary and theatrical tradition. Its significance can be seen from the universal use in a huge variety of different social practices. This thesis aims to analyse the phenomenon not from the empiric evidence (the discourse of musical iconography and musicology is much more explored), but through the texts where music is reflected on the theoretical basis. Special attention is paid to the texts regarding philosophical considerations of music, in particular the writings by Plato and Aristotle, the musical tradition of Pythagorean thought (mostly reconstructed from the Corpus Pythagoricum) as well as the remarks related to the aforementioned traditions. It is argued that these texts were of highest importance in Classical Greece and their frame of reference became the starting point of conceptual music for the later authors. The concept of music is ambiguous on many levels even in the ancient Greek texts. There are two main traditions, one of which focuses on talking about the empirical music and another that conceptualises the phenomenon by connecting many other philosophical contexts, such as mathematics, harmony, ethics etc. Those which do not relate music to the philosophical background usually define music as an enclosed niche with autarchic laws, though this tradition is confronted with the question of how music can affect people, and these discussions often lead to the theoretical / philosophical contemplation. The tradition of Pythagoras is understood as the medium between the archaic and classical tradition of Greek thought. Their ideas about finding the basis of hidden, though fundamental, structure of the world leads to the claim that the number is the foundation of reality. The number has mystical philosophical relevance, but what is most important for the analysis of music, is that harmony of cosmos has the same numerical basis as musical harmony. Numbers define the laws of cosmos, as well as the laws of human soul and music becomes the representation of these laws both on sensual and theoretical level. In Classical Greek world music is not only the phenomenon of sound, it corresponds to the principles of profound nature and it could be understood only by invoking mathematical knowledge. Music is perceived as numerical and temporal phenomenon leading to the intellectual work of mind. The mathematical nature of music in relation to other elements of reality is further developed in Plato's Timaeus. Pythagorean theory of music and cosmos, mathematics and proportions, is described explicitly and the Timaeus' version of the universe can be seen as a tuned musical instrument. The dialectic of stability and change is also analysed both on the levels of cosmos and musical laws. The proportion establishes a diversity of elements and at the same time enables a clearly definable unified identity (that is argued to be one of the keystones for understanding any form of Greek art). The textual analysis of the terms ἁρμονία (harmonia) and συμφωνία (sumphonia) affirms the importance of proportion. Because of its numeric nature music can affect human soul that also has numeric nature, and through imitation of emotions make a huge influence on the level of ēthos, as well as on political and social life. Music might be invoked for both virtuous and vicious means, therefore, the regulation of the phenomenon and appropriate tradition-forming laws have to be implemented in the musical culture of society.
The Philosophical Conception of Music in Classical Greece The phenomenon of music is one of the central aspects of Greek culture. The Greek word for music (mousikē) means the art of the Muses and is related to the literary and theatrical tradition. Its significance can be seen from the universal use in a huge variety of different social practices. This thesis aims to analyse the phenomenon not from the empiric evidence (the discourse of musical iconography and musicology is much more explored), but through the texts where music is reflected on the theoretical basis. Special attention is paid to the texts regarding philosophical considerations of music, in particular the writings by Plato and Aristotle, the musical tradition of Pythagorean thought (mostly reconstructed from the Corpus Pythagoricum) as well as the remarks related to the aforementioned traditions. It is argued that these texts were of highest importance in Classical Greece and their frame of reference became the starting point of conceptual music for the later authors. The concept of music is ambiguous on many levels even in the ancient Greek texts. There are two main traditions, one of which focuses on talking about the empirical music and another that conceptualises the phenomenon by connecting many other philosophical contexts, such as mathematics, harmony, ethics etc. Those which do not relate music to the philosophical background usually define music as an enclosed niche with autarchic laws, though this tradition is confronted with the question of how music can affect people, and these discussions often lead to the theoretical / philosophical contemplation. The tradition of Pythagoras is understood as the medium between the archaic and classical tradition of Greek thought. Their ideas about finding the basis of hidden, though fundamental, structure of the world leads to the claim that the number is the foundation of reality. The number has mystical philosophical relevance, but what is most important for the analysis of music, is that harmony of cosmos has the same numerical basis as musical harmony. Numbers define the laws of cosmos, as well as the laws of human soul and music becomes the representation of these laws both on sensual and theoretical level. In Classical Greek world music is not only the phenomenon of sound, it corresponds to the principles of profound nature and it could be understood only by invoking mathematical knowledge. Music is perceived as numerical and temporal phenomenon leading to the intellectual work of mind. The mathematical nature of music in relation to other elements of reality is further developed in Plato's Timaeus. Pythagorean theory of music and cosmos, mathematics and proportions, is described explicitly and the Timaeus' version of the universe can be seen as a tuned musical instrument. The dialectic of stability and change is also analysed both on the levels of cosmos and musical laws. The proportion establishes a diversity of elements and at the same time enables a clearly definable unified identity (that is argued to be one of the keystones for understanding any form of Greek art). The textual analysis of the terms ἁρμονία (harmonia) and συμφωνία (sumphonia) affirms the importance of proportion. Because of its numeric nature music can affect human soul that also has numeric nature, and through imitation of emotions make a huge influence on the level of ēthos, as well as on political and social life. Music might be invoked for both virtuous and vicious means, therefore, the regulation of the phenomenon and appropriate tradition-forming laws have to be implemented in the musical culture of society.
Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.
Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.
Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.
