Zoltán Kodály composed only two works for organ solo, the Organ Mass (Organoedia) and a Praeludium, which forms the introductory movement to the Pange lingua choral work. Nevertheless, his works ...involving the organ play a significant role in Hungarian organ music. The Hungarian idiom, characteristic for the composer's compositional style, is also reflected in the organ works, which form a very special, one might say exotic patch of color in the international organ repertoire.
Angesichts der aktuellen Kritik am feministischen Universalismus und der Infragestellung biologischer Geschlechterkategorien macht sich der Band auf die Suche nach pluralen Logiken weiblicher ...Kollektive. Er versammelt in einer Mischung aus Essays und wissenschaftlichen Aufsätzen unterschiedliche Mengenlehren des Femininen und fragt in historischer und interdisziplinärer Perspektive nach den Selbst- und Fremdbeschreibungen, Formen und Funktionen, Darstellungen und Deutungen dieser Kollektivbildungen. An Beispielen von den antiken Chören, Mänaden und Scharen über das Motiv der Schwestern und (Brief-)Freundinnen bis zur filmischen Darstellung von Frauen-WGs und der SocialMedia-Bewegung #metoo erkunden die Beiträge Semantiken, Logiken und Dynamiken weiblicher Kollektive.
Resumo A novela Florim (2020), de Ruth Ducaso, dá continuidade ao projeto da escritora baiana Luciany Aparecida que, entre outras marcas, utiliza diferentes assinaturas poéticas a depender da dicção ...e do efeito que pretende produzir como fatura do texto. Nesta obra, condensada em menos de 70 páginas, o leitor conhece a personagem Dita, uma mulher que trabalha no tráfico de drogas, é vendedora de dendê na feira, tem “nove filho” e sonha ser nomeada poeta. Florim é conduzida por três vozes intercaladas; a voz da narradora Dita, o diário da protagonista e a poesia de Dita. Além das três marcações (narração/diário/poesia), há ainda um quarto elemento, também de destaque em todo o texto, a ser creditado à Ruth Ducaso, a voz do Prólogo. São intervenções entre parênteses, em um primeiro momento lembrando o teatro clássico, e que também evocam as “experiências corais” de que fala Flora Sussekind (2013). Neste artigo, analiso as manobras operadas pela escritora Luciany Aparecida, notadamente a assinatura poética e a expansão dos gêneros, com vistas a observar como alguns empreendimentos do contemporâneo propõem novas formas para o literário. Neles, o leitor em um gesto interessado e ativo não se baseia apenas na noção de reconhecimento, mas lança mão de um repertório performático, comum à poesia e ao teatro. Florim, portanto, apesar de catalogado como “novela”, transcende o formato anunciado, como um exemplar da pós-autonomia.
Abstract The novela Florim (2020), by Ruth Ducaso, continues the project of Bahian writer Luciany Aparecida, who, among other resources, uses different poetic signatures depending on the diction and effect that she intends to produce as the making of the text. In this work, condensed into less than seventy pages, the reader meets the character Dita, a woman who works in the drug trade, is a palm oil seller at the fair, has “nine children” and dreams of being called a poet. Florim is conducted by three interspersed voices; the voice of the narrator Dita, the protagonist's diary, and Dita's poetry. In addition to the three voices (narrative/diary/poetry), there is also a fourth element, also prominent throughout the text, to be credited to Ruth Ducaso, the voice of the Prologue. They are interventions in parentheses, at first reminiscent of classical theatre, and which also evoke the “choir experiences” mentioned by Flora Sussekind (2013). In this article, I analyse the manoeuvrers operated by the writer Luciany Aparecida, notably the signature and expansion of genres. In them, the reader in an interested and active gesture is not based only on the notion of recognition, but makes use of a performative repertoire, common to poetry and theatre. Florim, therefore, despite being catalogued as a “novela”, transcends the advertised format, as an example of post-autonomy.
Resumen La novela Florim (editora paraLeLo13S, 2020), de Ruth Ducaso, continúa el proyecto de la escritora bahiana Luciany Aparecida, que, entre otras marcas, utiliza diferentes firmas poéticas en función de la dicción y el efecto que pretende producir como la hechura del texto. En esta obra, condensada en menos de setenta páginas, el lector conoce al personaje Dita, una mujer que trabaja en el narcotráfico, vende palma aceitera en la feria, tiene “nueve hijo” y sueña con ser nombrada poeta. Florim está dirigida por tres voces intercaladas: la voz de la narradora Dita, el diario de la protagonista y la poesía de Dita. Además de las tres marcas (narrativa/diario/poesía), también hay un cuarto elemento, destacado a lo largo del texto, que se le atribuye a Ruth Ducaso: la voz del Prólogo. Son intervenciones entre paréntesis que, en un principio, recuerdan al teatro clásico y que igualmente evocan a las “experiencias corales” de las que trata Flora Sussekind (2013). En este artículo analizo las maniobras de la escritora Luciany Aparecida, en particular la firma y la expansión de géneros, con miras a observar cómo algunos empeños contemporáneos proponen nuevas formas para lo literario. En ellos, el lector, en un gesto interesado y activo, no se basa únicamente en la noción de reconocimiento, sino hace uso de un repertorio performativo, común a la poesía y al teatro. Florim, por tanto, a pesar de catalogarse como “telenovela”, trasciende el formato anunciado como un ejemplo de posautonomía.
The article is devoted to the creative connections of the famous Soviet conductor and composer A.A. Egorov with the musical culture of Chuvashia in the 1930s. The purpose of the work is to recreate ...the historical picture of these connections, to determine his contribution to the Chuvash art and to identify the characteristic features of the interpretation of the national song folklore. The material of the study was musical texts of works by A.A. Egorov (first of all, the author’s collection «Folk Songs Arranged for Mixed Choir by A. Egorov»), as well as his theoretical and methodological work in the field of choral arrangement of folklore primary sources. Using the analytical method, the author traces the history of the appearance of choral arrangements by A.A. Egorov on the themes of Chuvash folk songs, the musical and poetic text of the most popular work «Kolkhoz uy-khire» («Kukkuk») («Kolkhoz fields» («Kukushka», «Kukuk!”)) is analyzed. It is concluded that the communication of A. A. Egorov with the head of the team the Chuvash composer V. P. Vorobyov inspired him to create ten miniatures for a cappella choir. Among the Chuvash adaptations, the most popular was «Kolkhoz uy-khire» («Kukkuk») – «Collective Farm Fields» («Kukushka»). Her undoubted success in the artistic culture of the 1930s let us explain not only the folklore theme successfully chosen by the composer, the organic interaction of the found methods of arranging the folklore source with the typical features of A. Egorov’s creative style as a whole, but also the masterful use of all musical and expressive resources. Together with other works by A.A. Egorov’s adaptation of «Kolkhoz uy-khire», included in the golden fund of Russian choral literature, can be called a classic of the musical art of Chuvashia.
The article examines the different versions of Schubert's Choral Lied on a text by Goethe Gesang der Geister über den Wassern, focusing mainly on the final version for male octet and string ensemble. ...The investigation starts with a semantic-morphological analysis of the verbal text and then concentrates on the solutions Schubert experimented with in an attempt to produce a setting as close as possible to the spirit of Goethe’s text.
This contribution intends to present a first analysis of the marginalia present in the series of Choir Books made for the convent of San Domenico in Genoa in the last quarter of the thirteenth ...century and attributed to the so-called Master of the ms. Lat. 42 and his collaborators, among whom the so-called Master of Graduals of Santa Maria di Castello stands out for the singularity of his language. After a first part dedicated to providing some reflections on the role and value of marginalia within the illuminated page, a detailed description of the drawings present in the Genoese manuscripts, in particular in Gradual A, will be proposed: the subjects of marginalia will therefore be interpreted as elements of a complex semantic system composed of literary and figurative signs in a continuous dialogue with each other.
The purpose of this study was to examine and describe the children's choir of Gema Trumpets, review and how the process of making the Children's Choir of Gema Sangkakala Manado, How is the process of ...fostering the Children's Choir of Gema Sangkakala Manado, What are the factors that hinder the process? Ordering and coaching the Manado Echo Sangkakala Children's Choir, and What efforts have been made to overcome the obstacles to ordering and coaching the Echo Trumpets Children's Choir. The research method used in this study is qualitative. Data technique is done by observation, interview, documentation study. coaching, namely: After analyzing the data, it was concluded that The reservation of the Gema Sangkakala Manado children's choir was a response to the public's interest, especially choir observers to accommodate the potential of children who have interests and talents in senior vocals, especially in the choir. , as part of the development of the organization (Studio) to contribute to fostering children's attitudes and behavior through the chorus, to motivate in general in cultivating and attracting children's interest in their love of good singing skills through praise, Age limits and parents, as well as children in the Choir by showing the impact of fostering children on a changing process, the management of the process always requires substantial funds by relying only on non-permanent donors, and Efforts which were carried out to overcome various obstacles in the choir, among others, recruiting members followed by b . interviews both for children and parents, involving parents in the preparation of activity programs that are tailored to the child's schedule, fundraising is carried out at any time including scheduling concert programs that are held regularly.
Peace Be Still Marovich, Robert
12/2021, Volume:
543
eBook
In September of 1963, Reverend Lawrence Roberts and the Angelic
Choir of the First Baptist Church of Nutley, New Jersey, teamed
with rising gospel star James Cleveland to record Peace Be
Still . The ...LP and its haunting title track became a
phenomenon. Robert M. Marovich draws on extensive oral interviews
and archival research to chart the history of Peace Be
Still and the people who created it. Emerging from an
established gospel music milieu, Peace Be Still spent
several years as the bestselling gospel album of all time. As such,
it forged a template for live recordings of services that
transformed the gospel music business and Black worship. Marovich
also delves into the music's connection to fans and churchgoers,
its enormous popularity then and now, and the influence of the
Civil Rights Movement on the music's message and reception.
The first in-depth history of a foundational recording,
Peace Be Still shines a spotlight on the people and times
that created a gospel music touchstone.
Abstract
The purpose of this phenomenological study was to explore the essence of an intergenerational choir experience for older adults and student music therapists. Data were gathered through a ...series of open-ended individual interviews with older adult participants (n = 10) and student participants (n = 5). Analysis of data revealed four emerging themes common to both older adults and students: mutual learning, social bonding and support, feelings of accomplishment, and appreciation and enjoyment. Emerging themes unique to the older adult community members were that (a) participation challenges came from differences in musical culture; (b) intergenerational choir promoted experience of emotional health and helped maintain an active lifestyle; and (c) community members were passionate about recruiting new members to expand the choir. Emerging themes unique to the student music therapists were that (a) intergenerational choir provided unique ensemble experiences and (b) students reported positive changes in perception of older adults. Implications of intergenerational music engagement for music therapy clinical practice, research, and education are discussed.
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