The Peregrinations of panjgāh Wright, Owen
Annali di Ca' Foscari : Rivista della Facoltà di lingue e letterature straniere dell'Università di Venezia,
6/2019, Volume:
55, Issue:
1
Journal Article
Peer reviewed
Open access
One of the more durable elements in the modal repertoires of the art-music traditions of the Middle East and Central Asia, panjgāh has a recorded history going back to the beginning of the fourteenth ...century, and all major theoretical texts of the following centuries refer to it. Discussed here is the documentation of its emergence, diffusion and morphological development, leading to a presentation and comparison of contemporary forms from Turkey to Xinjiang, manifestly diverse but in several cases still demonstrably related.
The book presents the biographies and work lists of 126 Finnish women composers born between 1784 and 1909. Based on large-scale archival research, it is the first comprehensive historical account of ...Finnish women composers and their cultural heritage. The authors draw on feminist music history and the sociohistorical approach to find out who these women were, what kind of music they wrote, and how their careers reflected European cultural and social history. The treatise highlights the influence of girls’ schools, women’s suffrage movements and other socio-political developments on the musical culture of women. Concepts such as “composer”, “woman” and “Finnish” were assumed to be open and inclusive throughout the research, in terms of both musical style and diversity in cultural background. In concentrating on music-making by women, the book opens up radically new vistas on Finland’s music and cultural history, and it rectifies previous erroneous conceptions about women’s composership and their artistic work. In short, it exposes the richness in the sonic and intellectual heritage of Finnish women composers, as well as its significance in society today.
During the 1930s and 1940s, the Hollywood industry, with the support of the US State Department, produced an enormous amount of propaganda films with themes around Latin America. In these ...productions, music played a fundamental role, being one of the most persuasive and strategic resources that the government and the film industry had to appeal to the emotionalities of their audiences, in order to favor a project of hegemony. Assuming as a problem the weak presence of the sound dimension – and within this, the musical dimension – within the academic literature that addresses this phenomenon, this research proposes a rereading, from the musical point of view, of a representational phenomenon that meant, among other things, the configuration of what from then on is understood in the global music industry as “Latin music”
In comparison to his contemporaries Miklós Rózsa, Erich Wolfgang Korngold, or Max Steiner (all prominent figures in the history of ‚classical‘ Hollywood film music), Franz Waxman (1906–1967) has been ...underresearched. The monograph Franz Waxman – Zwischen Filmmusik und Konzertsaal utilizes Waxman as a case study, offering a fresh perspective on Hollywood film music from the 1930s to the 1960s that extends beyond mere biographical or music-analytical examinations. In addition to his work for Hollywood, Waxman played diverse roles in the international music business, such as festival organizer, conductor, and composer of concert music.
Franz Waxman (1906–1967) zählte zwar zu den bekanntesten Vertretern der „klassischen“ Hollywood-Filmmusik, ist aber, im Gegensatz zu seinen Zeitgenossen Miklós Rózsa, Erich Wolfgang Korngold oder Max Steiner, bislang nur lückenhaft erforscht. Die Monographie Franz Waxman – Zwischen Filmmusik und Konzertsaal entwickelt am Beispiel Waxmans eine neue Perspektive auf Hollywoods Filmmusik der 1930er- bis 1960er-Jahre, die über rein biographische oder musikanalytische Einzelbetrachtungen hinausgeht. So wirkte Waxman in einem internationalen Umfeld nicht nur als Filmkomponist, sondern auch als Festivalveranstalter, Dirigent und Komponist von Konzertmusik.
En el presente artículo se reflexiona sobre el significado y alcance del método de enseñanza Ward concebido en su momento de forma genérica para la alfabetización musical de escolares, además de ...orientado al aprendizaje musical básico del Canto Gregoriano. Del mismo modo, se profundiza también en la figura de su creadora, la pedagoga norteamericana Justine Bayard Cutting Ward (1879-1975), atendiendo especialmente a la coyuntura y contextualización de la época en la que su sistema musical se desarrolla. Posteriormente se aborda el tema de la recepción del método Ward en España, enmarcada por la crisis sufrida por la Iglesia en el ochocientos, la cuestión social abordada por el Papa León XIII y la posterior reforma de la Música Sacra abanderada por Pío X, ratificada hasta el Concilio Vaticano II (1962-1965). Este método de enseñanza musical también toma como referencia la revitalización y normalización solesmense del canto gregoriano. La revisión que aquí se plantea a través del análisis del origen del método Ward así como la combinación de factores y circunstancias que lo propiciaron puede coadyuvar a la actualización de algunas de sus premisas en el ámbito pedagógico-musical, cuyos principios básicos muestran todavía vigencia e influencia en algunos de los principales métodos activos de educación musical.
This is the first part of a critical edition of the complete dramatic works by Apostolo Zeno. Vol. I.1 offers 10 librettos: Gl’Inganni felici, Il Tirsi, Il Narciso, I rivali generosi, Eumene, ...Odoardo, Faramondo, Lucio Vero, Griselda, Temistocle. Parte I Volume 1: https://e-book.fwf.ac.at/o:1587 Parte I Volume 2: https://e-book.fwf.ac.at/o:1588
Die vorgelegte Textausgabe enthält den ersten Teil einer kritischen Edition des Gesamtwerks der dramatischen Dichtungen von Apostolo Zeno. Band I.1 enthält 10 Libretti: Gl’Inganni felici, Il Tirsi, Il Narciso, I rivali generosi, Eumene, Odoardo, Faramondo, Lucio Vero, Griselda, Temistocle. Parte I Volume 1: https://e-book.fwf.ac.at/o:1587 Parte I Volume 2: https://e-book.fwf.ac.at/o:1588
This is the first part of a critical edition of the complete dramatic works by Apostolo Zeno. Vol. I.2 offers 9 librettos: Il Venceslao, Aminta, Pirro, Il Teuzzone, L’Amor generoso, Atenaide, ...Scipione nelle Spagne, Merope, Alessandro Severo. Parte I Volume 1: https://e-book.fwf.ac.at/o:1587 Parte I Volume 2: https://e-book.fwf.ac.at/o:1588
Die vorgelegte Textausgabe enthält den ersten Teil einer kritischen Edition des Gesamtwerks der dramatischen Dichtungen von Apostolo Zeno. Band I.2 enthält 9 Libretti: Il Venceslao, Aminta, Pirro, Il Teuzzone, L’Amor generoso, Atenaide, Scipione nelle Spagne, Merope, Alessandro Severo. Parte I Volume 1: https://e-book.fwf.ac.at/o:1587 Parte I Volume 2: https://e-book.fwf.ac.at/o:1588
Acoustics of Empire articulates what we might call a cultural history of global acoustics in the Age of Empire. Increasingly, music and sound studies have turned their attention to questions of ...empire and postcolonial thought, raising new questions about the forms and circulation of cultural, technological, and military power as manifest in and through sound. However, most of this scholarship has focused on the twentieth century. Conversely, sound and media studies have made nineteenth-century histories of science and technology a central part of their canonical repertoire, but largely overlooked the ways in which these technological developments emerged from contexts of empire. Examining histories of sound, listening practices, and audiovisual technologies of the Long Nineteenth Century through the lens of geopolitical power, Acoustics of Empire recovers a history of sound that is bound up with, even as it elides, questions of imperial and colonial rule. Bringing together contributions from historians, musicologists, anthropologists, and literary critics, the book emphasizes historical moments in which academic disciplines like musicology and history were created at the same moment and often in connection with global empires.
Organ builders and the civic and religious communities that use them rely on a set of uses and models that reveals both the will to surpass and the desire to imitate a model considered to be ...excellent. This article proposes a typology of the forms of competition linked to the organ and to the different actors in its production, from the craftsmen to the customers, including the evaluators. Since the value of an organ cannot be fixed according to strictly material considerations, the phenomena of competition also occur in the immaterial register. The craftsmen are valued in the same way as their production, whose quality makes its reputation. A sort of hierarchy emerges between organ builders on the basis of their capacity to respond to a set of standards whose models are the pre-existing instruments. Political and spiritual, the sound of the instrument is supposed to promote the unity of society (concord) and to participate in the policy of magnificence of the various powers active in the Italian cities of the Renaissance.
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