The biographical facts about Einojuhani Rautavaara are quickly told, but are highly indicative of two important aspects of both his character and his music; namely his thoroughness of technique and ...his cosmopolitan outlook. He was born in 1928, the son of an opera singer. He studied composition initially with Aarre Merikanto at the Sibelius Academy, and then went to the United States in 1955 on a scholarship (awarded at Sibelius's recommendation) to study with Copland, Persichetti, and Sessions. Later he went to Switzerland and studied further with Wladimir Vogel, and in Cologne with Rudolf Petzold. In his turn Rautavaara has become much respected as a teacher, and was awarded the honorary title of Professor of Arts in 1971. Since 1976 he has himself taught composition at the Sibelius Academy.
Born in 1934, Georgiy (Giya) Kancheli has begun to receive attention in the West rather later than Alfred Schnittke, who was born one year earlier. Kancheli, who comes from Tiflis (Tbilsi), in ...Georgia – and who should not therefore be described as Russian – studied piano and composition (with Ilya Tuskiya) in the Conservatory of his native town between 1959 and 1963, and he has himself taught there since 1970. Since 1971 he has also been musical director of the Rustaveli Theatre in Tiflis. He has received recognition as a People's Artist of the USSR, and been a State Prize winner, and following his emergence into the consciousness of countries outside the USSR interest in his music has spread considerably.
The 100th anniversary of Mokranjac's death provides an opportunity to consider his work from the perspective of a "cultural icon", in so far as his music and the composer himself have gained such an ...iconic status in the context of Serbian music. His output in ethnography and composition alike has not only itself become an "icon", but also paved the way for younger composers.
The 100th anniversary of Mokranjac’s death provides an opportunity to consider his work from the perspective of a “cultural icon”, insofar as his music and the composer himself have gained such an ...iconic status in the context of Serbian music. His output in ethnography and composition alike has not only itself become an “icon”, but also paved the way for younger composers.journal ar
Music is inseparable from liturgy in Orthodox worship. While very little is known about the musical practice of the earliest Christians, the large surviving corpus of medieval music manuscripts gives ...evidence of a flourishing musical practice that grew gradually during the course of the first millennium of Christianity (the earliest Byzantine sources with melodic notation date from the tenth century).
Nationalistic aspects in music of Luis de Freitas Branco; effects on Portuguese cultural life of the military revolt of May 1926 and half a century of dictatorship; the music of Joly Braga Santos and ...Claudio Carneyro; the influence of the Darmstadt school on the postwar generation and those who stood apart from this line such as Amilcar Vasques Dias; influences on main figures born in the 1950s and 1960s, one of the latter being Alexandre Delgado.
Is it possible to arrive at a definition of mystical music? Taking the OED definition of the word mystic as a basis, the premise behind several works which could be described as mystical by ...contemporary Orthodox Composers (Pärt, Tavener, Adamis, Moody) is examined. The idea of initiation (the attaining of a hidden body of knowledge, or gnosis) emerges as being of great importance, and the geometric, two-dimensional style of ikon painting is refered to as a point of comparison. The role of repetition and the use of symbols (in Stravinsky and Adamis) are discussed. While no objective conclusion as to the nature of mystical music is thought possible, a subjective one, employing the words of Fr Matta el-Maskeen from another context, is suggested.
Music as a sacred art Moody, Ivan
Contemporary music review,
19/1/1/, Letnik:
12, Številka:
2
Journal Article
Recenzirano
Innovation of the kind exemplified in much of the present century's music is diametrically opposed to the continuation and expression of any kind of sacred tradition. In order to find an appropriate ...vocabulary and technique for a contemporary religious music, the re-discovery of and re-integration into sacred tradition is essential. This paper discusses the issue and proposes some clues as to where one might begin to search.
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