Stravinsky and Maritain: Philosophies of work Moody, Ivan
Muzikologija : časopis Muzikološkog instituta Srpske akademije nauka i umetnosti,
01/2023, Letnik:
2023, Številka:
34
Journal Article
Recenzirano
Odprti dostop
Igor Stravinsky?s philosophical and religious trajectory included transformative encounters with Catholic theologians and philosophers in the Paris of the 1920s and 1930s. The most important amongst ...these was Jacques Maritain, whose neoThomist philosophy applied to art was of significance to Stravinsky, and in particular through its application in the life and work of fellow Russian ?migr? composer Arthur Louri?. This article examines the relationship between Stravinsky and Maritain in terms of the larger philosophical and creative context of the period, also touching on the work of Louri? and Manuel de Falla, and discussing its ramifications in the work of Stravinsky himself.
The situation for emigre composers in Britain during World War II and
afterwards was extremely complicated. British attitudes towards foreigners
were highly ambivalent, and this was reflected ...institutionally, as the
policies of the BBC at the time clearly show. This article reflects on the
lives and legacy of five foreign composers, all very different from each
other, who were, remarkably, discussed by Francis Routh in a book on British
music he published in 1972. I attempt to situate these composers over the
course of a longer period of time and ask whether such attitudes have in
fact truly changed.
In this article, I discuss the persistence of Byzantium as a cultural model in the arts, and in music in particular, in the countries of the Balkans after the fall of Constantinople. By examining ...ways in which the idea of Byzantium persisted in Balkan artistic cultures (and especially in music) after the fall of Byzantium, and the way in which this relates to the advent of modernism during the later construction of the Balkan nation-states, I illustrate not only the pervasiveness but also the strength of Byzantinism as a pan-Balkan characteristic.
The history of music in the countries of Southern Europe has, in general,
been examined either from the West or from the East. This has had to do with
traditional and univestigated assumptions of ...divisions on religious and
linguistic grounds, amongst others, and a lack of familiarity with the
relevant literatures which it self derives in large part from a lack of
familarity with the relevant languages. Thus, there has been very little
comparison of aesthetics in the context of emerging or newly-established
nations, and the vital and simultaneous investigation of modernism in those
countries, that takes into account both the countries of the Mediterranean
and of the Balkans, rather than viewing them as peripheries and discussing
them almost exclusively in relation to a theoretical centre. In a number of
recent publications and papers, I have aimed to break down some of the
seborders precisely by confronting the question of tradition and modernism
and bycomparing and contrasting the music of the Latin/ Roman Catholic
South-West with that of the Slavic and Greek/Orthodox East, at the same time
endeavouring todiscuss this problem in a very broad sense, which I believe
to be necessary in establishing the groundwork for future investigation in
this area. In this article I discuss this approach and examine the problems
inherent in its implementation, given both the need for breadth of
historical and geographical vision (i.e., denationalizing music histories)
and for the avoidance of a musicology of cliche, born of ideology rather
than unbiased curiosity.
nema
This volume is the first collection of essays in English devoted to the work of the outstanding Yugoslavian composer Rudolf Bruči. It approaches Bruči's work from a remarkably broad number of angles, ...and the chapters underline that fact that his work was multivalent. The book emphasizes his wider relevance in the ever-expanding field of musicology dealing with the fascinatingly diverse outputs produced in the Balkans in general, but reminds us of the considerable international reputation that the composer enjoyed far beyond the borders of the former Yugoslavia.Bruči's creative mind was extraordinarily wide-ranging, and this text also explores his engagement with the wider culture around him. In the context of post-war Yugoslavia, an artist was also a cultural worker, expected to carry out many duties, and contribute to the advancement of the country's self-governing socialist society.
Some outstanding contributions notwithstanding, much recent scholarship in Western European languages concerning art and the sacred has been quite prolific but has generally avoided discussion of ...specifically liturgical music, a particular problem when dealing with the sacred music of the Orthodox Church. The present discussion aims at establishing some bases for furthering this discussion, drawing not only on recent commentators but especially commentary on the question of liturgical singing by the Fathers of the Church.
Orthodox church music is as much a part of the quest for Serbian identity as art music. This article seeks to discuss the establishment of this quest in the period between the activity of the first ...melographers (notably Kornelije Stanković and Stevan Mokranjac) and composers working in the period leading up to the Second World War. Particular attention is paid to the parallels between the gradually developing aims of these composers, built on the collections of chants made (and harmonized) by the melographers, and the movement in architecture known as Serbo-Byzantinism. It examines the technical developments espoused by Serbian composers who went to study in Western countries and endeavoured to find a meeting point between their newly acquired knowledge and their desire to maintain links with, if not necessarily Byzantine culture, then Byzantinism as filtered through Serbian traditions of sacred music.
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