En este documento se analizan dos cantatas sudamericanas compuestas durante la década de 1960. La Cantata Laxatón del grupo argentino Les Luthiers (1965) y la Cantata Santa María de Iquique del ...chileno Luis Advis (1969) son ejemplos de músicas nuevas que apelaron a sus audiencias con elementos de diversa procedencia. Se propone revisar el concepto de "género musical" como una herramienta que se utiliza para dar cuenta del potencial comunicativo y programático en estas dos obras. La hipótesis es que estas músicas pusieron en tensión el concepto de género musical al recurrir sus creadores al humor, a la parodia y a la crítica política junto con la utilización de elementos del campo académico y del campo popular.
Cantatas in Honor of San Gennaro DELDONNA, ANTHONY R.
The Journal of musicology (St. Joseph, Mich.),
03/2016, Letnik:
33, Številka:
2
Journal Article
Recenzirano
No saint in the Catholic hagiographic tradition has served as a more vivid symbol of martyrdom, veneration, or of God’s profound grace toward a community than San Gennaro (Saint Januarius), the ...patron saint of the Kingdom of Naples. This essay studies the history and culture surrounding the veneration of San Gennaro. I focus on the longstanding cultivation of cantatas as a vehicle for veneration and for the promotion of catechism and post-Tridentine ideology. The first part of the essay traces political, social, and religious currents that contributed to the growth of the cult. The second part considers late eighteenth-century cantatas by Giovanni Paisiello and Domenico Cimarosa that were created for the Feast of the Traslazione. These works adopt strategies of poetic narrative and musical expression that reflect thematic elements associated with the annual feast. They also represent a musical turning point, incorporating innovative aria types, a widespread use of accompanied recitative and large choral ensembles, and distinctive instrumental sonorities. The Traslazione cantatas thus offer an opportunity not only to examine contemporary cultural currents in early modern Naples, but also to broaden our understanding of the cantata genre and of two leading operatic innovators of the late eighteenth century.
Inhibition of the sodium-glucose cotransporter 2 (SGLT2), to promote the excretion of glucose, is a new paradigm in the treatment of type 2 diabetes.
Canagliflozin is an SGLT2 inhibitor, which has ...been the subject of two recent clinical trials, which are evaluated.
Studies with canagliflozin, in subjects with type 2 diabetes, have shown that its use is associated with reductions in HbA1c and body weight and small reductions in blood pressure and triglycerides, while increasing high-density lipoprotein cholesterol and low-density lipoprotein cholesterol. As monotherapy in Japanese subjects, or in comparison with glimepiride in CANTATA-SU (CANagliflozin Treatment and Trial Analysis versus SUlphonylurea), canagliflozin causes a low incidence of hypoglycemia, and this is an advantage over glimepiride. However, one of the disadvantages with canagliflozin, which was also highlighted in CANTATA-SU, is that canagliflozin can cause urogenital infections, which are not observed with other antidiabetic drugs. The Federal Drug Administration has recently approved canagliflozin for use in type 2 diabetes, while directing that a clinical outcome safety trial be undertaken. We are concerned that canagliflozin has been approved for use in type 2 diabetes prior to a clinical outcome study of efficacy being undertaken and without the outcome of further safety testing.
The article scientifically proves the importance of choral genres in the works by Arthur Lourie. The features of composition and the musical language of the symphonic cantata «In the Temple of Golden ...Dreams» by Arthur Lourie are identified. It is proved that the trends of symbolism and avant-garde affected the formation of the logic of intonation development , composite and harmonic solutions of the cantata. It is justified that the composer’s experiments in the fields of harmonic language, metroritm, texture, timbre brilliance largely anticipate the trends of the world music development. On the basis of the «In the Temple of Golden Dreams» symphonic cantata for mixed chorus a cappella A. Lurie, innovative methods of convergence of expressive possibilities of symphonic and choral scores, aimed at strengthening the capabilities of color and expressive choral sound are identified.
В статье научно обосновано значение хоровых жанров в творчестве Артура Лурье. Выявлены особенности композиции и музыкального языка симфонической кантаты «В кумирне золотого сна» Артура Лурье. Доказано, что на формирование логики интонационного развития, композиционных и гармонических решений кантаты оказали воздействие тенденции символизма и авангарда. Обосновано, что эксперименты композитора в области ладо–гармонического языка, метро–ритма, фактуры, тембровой красочности во многом предвосхищают тенденции развития мирового музыкального искусства. На основе анализа симфонической кантаты «В кумирнезолотого сна» для смешанного хора a cappella А. Лурье выявляются новаторские приемы сближения выразительных возможностей симфонической и хоровой партитур, направленные на усиление колористических и экспрессивных возможностей хорового звучания.
In 1776, the convent of Elizabethan Nuns in Prague’s New Town was commemorating the fiftieth anniversary of two events: the profession of the former Mother Superior M. Deodata a Presentatione B. V. ...Mariae OSE (née Anna Justina von Klausniz) and the laying of the foundation stone of the convent building. The celebrations of this dual anniversary were also reflected in the institution’s musical life. There was a performance at the convent of a congratulatory cantata with a libretto by the ex-Jesuit Rochus Elinger, and music was composed for it by the local choirmaster M. Juliana a Septem BB. Patribus OSE. On Holy Saturday, there was a performance of the sepolcro
(The Prodigal Son), composed by Emilián Rickert OCist. from the monastery in Zbraslav. That same year, Jáchym Štěpanovský, the cantor from České Budějovice, also dedicated his works to the Mother Superior.
Prokofiev's cantata Zdravitsa (1939) was appreciated by Soviet officialdom immediately upon its premiere, and its fame lasted throughout subsequent decades. In post-Stalin times, however, critics ...re-evaluated the cantata, arguing that Zdravitsa had not been written as pro-Stalinist propaganda. Eventually, the idea that it was not Stalin but "the people" whom Prokofiev actually glorified in this cantata became the accepted interpretation of the piece, unchallenged even today. Based on insights drawn from the musical and literary sources of Zdravitsa, its relationship to the pseudo-folk Soviet tradition, and its critical reception, the present article proposes a revised framework for interpretation. I show that Prokofiev's cantata fully corresponds to the Stalinist cultural Myth of the Father of Nations, as represented in Soviet arts and media. Examining archival sources and scholarly literature, I describe the official demands on the cantata. In the second part of the essay I undertake a thorough exploration of the music, identifying its adherence to Socialist Realist aesthetics in Stalin's times. PUBLICATION ABSTRACT
PDF
