Contemporary Composed Music in the Czech Republic
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Terminology of Art Music in Ottoman Turkish and Modern Turkish Lexicography (19Th-21St Century)
TERMINOLOGY OF ART MUSIC IN OTTOMAN TURKISH AND MODERN TURKISH LEXICOGRAPHY (19TH-21ST CENTURY). Agata Pawlina Jagiellonian University Abstract In this paper the author presents preliminary conclusions concerning changes in forms (in respect of orthography and morphology) and semantics of musical terms in Ottoman Turkish and modern Turkish lexicography. Selected dictionaries (including mono- and bilingual, general and specialized ones) from the period between the 19th and 21st century had been analyzed. This period of time is particularly interesting for establishing how a) Turkish lexicographic works reflect the Westernization of high- culture music of the late Ottoman Empire and the young Republic of Turkey and b) differences between art music of the Ottoman and European traditions are perceived nowadays. By presenting a terminological analysis of words considered to be not only basic musicological terms but also a part of natural language (‘singer’, ‘piano’, ‘kanun’) the author unveils some of the issues associated with the translation of Turkish musical terms into European languages and vice-versa. Those problems arise from the duality and hybridity which exist in contemporary Turkish musical culture. Its older part, the so-called classical/traditional art music (tur. Türk sanat müziği or Osmanlı/Türk klasik müziği) emerged at the turn of the 17th century, as a part of a Middle Eastern art musical tradition. Later on, during modernizing efforts conducted in the declining Ottoman Empire in the 19th century, European art music had been incorporated along with its international, translingual terminology. As a result of such duality, interesting phenomena are being observed in modern Turkish vocabulary concerning art music. -
Music: the Case of Afghanistan by JOHN BAILY
from Popular Music 1, CambridgeUniversity Press 1981 Cross -cultural perspectives in popular music: the case of Afghanistan by JOHN BAILY The problem of definition It is inevitable that the first issue of this yearbook will raise questions about the use of the term 'popular music'. I do not believe that this question is going to be easy to answer and, as a precaution, I think we should regard quick and seemingly clearcut solutions with suspicion. In fact, we may eventually have to operate with intuitive, poorly defined and rather elastic definitions of popular music. Before we resort to that expedient, however, the problem of definition must be considered and discussed from various points of view. The editors have offered the following two definitions (the number- ing is mine): (1)From one point of view 'popular music' exists in any stratified society. It is seen as the music of the mass of the people ... as against that of an élite. (2) From another point of view there is at the very least a significant qualita- tive change, both in the meaning which is felt to attach to the term and in the processes to which the music owes its life, when a society undergoes indus- trialisation. From this point of view popular music is typical of societies with a relatively highly developed division of labour and a clear distinction between producers and consumers, in which cultural products are created largely by professionals, sold in a mass market and reproduced through mass media. (P. i above) The first of these definitions is very general, the second very specific. -
178 Chapter 6 the Closing of the Kroll: Weimar
Chapter 6 The Closing of the Kroll: Weimar Culture and the Depression The last chapter discussed the Kroll Opera's success, particularly in the 1930-31 season, in fulfilling its mission as a Volksoper. While the opera was consolidating its aesthetic identity, a dire economic situation dictated the closing of opera houses and theaters all over Germany. The perennial question of whether Berlin could afford to maintain three opera houses on a regular basis was again in the air. The Kroll fell victim to the state's desire to save money. While the closing was not a logical choice, it did have economic grounds. This chapter will explore the circumstances of the opera's demise and challenge the myth that it was a victim of the political right. The last chapter pointed out that the response of right-wing critics to the Kroll was multifaceted. Accusations of "cultural Bolshevism" often alternated with serious appraisal of the strengths and weaknesses of any given production. The right took issue with the Kroll's claim to represent the nation - hence, when the opera tackled works by Wagner and Beethoven, these efforts were more harshly criticized because they were perceived as irreverent. The scorn of the right for the Kroll's efforts was far less evident when it did not attempt to tackle works crucial to the German cultural heritage. Nonetheless, political opposition did exist, and it was sometimes expressed in extremely crude forms. The 1930 "Funeral Song of the Berlin Kroll Opera", printed in the Neue Zeitschrift für Musik, may serve as a case in point. -
Reading the Meaning of Mother in Your Mother Song Lyrics
READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTIC OF POETRY ANALYSIS A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining the Bachelor Degree in English Literature By: NAJIB NUGROHO 16150047 ENGLISH DEPARTMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2020 ii iii KEMENTERIAN AGAMA UNIVERSITAS ISLAM NEGERI SUNAN KALIJAGA FAKULTAS ADAB DAN ILMU BUDAYA Jl. MarsdaAdisucipto Yogyakarta 55281 Telp./Fak. (0274)513949 Web: http://adab.uin-suka.ac.id E-mail : [email protected] NOTA DINAS Hal : Skripsi a.n. Najib Nugroho Yth. Dekan Fakultas Adab dan Ilmu Budaya UIN Sunan Kalijaga di Yogyakarta Assalamu’alaikum Wr. Wb. Setelah memeriksa, meneliti, dan memberikan arahan untuk perbaikan atas skripsi saudara: Nama : NAJIB NUGROHO NIM : 16150047 Prodi : Sastra Inggris Fakultas : Adab dan Ilmu Budaya Judul: READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTICS OF POETRY ANALYSIS Saya menyatakan bahwa skripsi tersebut sudah dapat diajukan pada sidang Munaqosah untuk memenuhi sebagian syarat memperoleh gelar Sarjana Sastra Inggris. Atas perhatian yang diberikan, saya ucapkan terimakasih. Wassalamu’alaikum Wr.Wb. Yogyakarta, 25 Juni 2020 Pembimbing, Ulyati Retno Sari, S.S. M.Hum. NIP. 19771115 200501 2 002 iv READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTICS OF POETRY ANALYSIS By: Najib Nugroho Abstract Your Mother song teaches how to respect to mothers. This theme is important to discuss because respecting a mother must be done by any children. This song is interesting to be analyzed because this song directly quotes the hadith of the prophet Muhammad SAW. -
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida. -
The Moldavian Composer V. Rotaru and His Chamber- Instrumental Work
İNÖNÜ ÜNİVERSİTESİ KÜLTÜR VE SANAT DERGİSİ İnönü University Journal of Culture and Art Cilt/Vol. 5 Sayı/No. 1 (2019): 41-51 THE MOLDAVIAN COMPOSER V. ROTARU AND HIS CHAMBER- INSTRUMENTAL WORK. Natalia Djalilova*1 *Academy of Music, Theatre and Fine Arts, Chishinau, Republic of Moldova Summary This article analyzes the piano Trio INO-3 V. Rotaru, its significance in the author's work, the basic style, the harmonic, rhythmic and inerprtative aspects. The connection with neo-folklore direction in music and traditional genres in Moldovan folk music is revealed, the synthesis of traditional folklore with modern composition techniques. This article assumes to define first of all value of the considered Trio INO-3 in the context of all area of chamber-instrumental music of V. Rotaru, as the last composition of the composer in this genre sphere. The article also focuses on the neo-folklore features of the composer's style and their harmonious combination with the classical traditions typical of the trio of Russian and Western European composers. As for the classical traditions, the Trio is a three-part cycle with a characteristic tempo dramaturgy: I. Moderato II. Lento e molto lamento III. Allegro moderato Since this Trio is the last in the cycle and was written shortly before the composer's death, the author's appeal to the genre of mourning Saraband in the middle part is of interest. As for the neo-folk style elements, they define the whole thematic, rhythmic and Lado - harmonic material of the composition. The article focuses on the Lado - harmonic features of all parts of the Trio, which are characteristic intonation formulas of Moldovan folklore: motives with II increased and decreased levels, motives with IV increased level, VI increased level, enriched with melismatics. -
Yayını Görüntülemek Için Tıklayın
Prof. Sir John Boardman Sir John Boardman’ın 90. Yaşı Onuruna In Honour of Sir John Boardman on the Occasion of his 90th Birthday TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi Turkish Academy of Sciences Journal of Archaeology Sayı: 20 Volume: 20 2017 TÜBA-AR TÜBA Arkeoloji (TÜBA-AR) Dergisi TÜBA-AR uluslararası hakemli bir TÜRKİYE BİLİMLER AKADEMİSİ ARKEOLOJİ DERGİSİ dergi olup TÜBİTAK ULAKBİM (SBVT) ve Avrupa İnsani Bilimler Referans TÜBA-AR, Türkiye Bilimler Akademisi (TÜBA) tarafından yıllık olarak yayın- İndeksi (ERIH PLUS) veritabanlarında lanan uluslararası hakemli bir dergidir. Derginin yayın politikası, kapsamı ve taranmaktadır. içeriği ile ilgili kararlar, Türkiye Bilimler Akademisi Konseyi tarafından belir- lenen Yayın Kurulu tarafından alınır. TÜBA Journal of Archaeology (TÜBA-AR) TÜBA-AR is an international refereed DERGİNİN KAPSAMI VE YAYIN İLKELERİ journal and indexed in the TUBİTAK ULAKBİM (SBVT) and The European TÜBA-AR dergisi ilke olarak, dönem ve coğrafi bölge sınırlaması olmadan Reference Index for the Humanities arkeoloji ve arkeoloji ile bağlantılı tüm alanlarda yapılan yeni araştırma, yo- and the Social Sciences (ERIH PLUS) databases. rum, değerlendirme ve yöntemleri kapsamaktadır. Dergi arkeoloji alanında yeni yapılan çalışmalara yer vermenin yanı sıra, bir bilim akademisi yayın organı Sahibi / Owner: olarak, arkeoloji ile bağlantılı olmak koşuluyla, sosyal bilimlerin tüm uzmanlık Türkiye Bilimler Akademisi adına Prof. Dr. Ahmet Cevat ACAR alanlarına açıktır; bu alanlarda gelişen yeni yorum, yaklaşım, analizlere yer veren (Başkan / President) bir forum oluşturma işlevini de yüklenmiştir. Sorumlu Yazı İşleri Müdürü Dergi, arkeoloji ile ilgili yeni açılımları kapsamlı olarak ele almak için belirli Managing Editor bir konuya odaklanmış yazıları “dosya” şeklinde kapsamına alabilir; bu amaçla Prof. -
Uluslararası Bilimsel Araştırmalar Dergisi
IBAD Sosyal Bilimler Dergisi IBAD Journal of Social Sciences IBAD, 2020; (6): 378-389 DOI: 10.21733/ibad.673158 Özgün Araştırma / Original Article Klasik Müzikte Boyutsal Seslendirmeler Prof. Dr. Cihan Işıkhan1* ÖZ Seste boyutsallık algıda şekillenen bir bileşen, bir oluşumdur. Ses kaynağı nerede olursa olsun, iki kulağın aralarındaki yüz engelli mesafesi ve buna bağlı olarak ortaya çıkan işitmedeki zamansal gecikme algıda boyutsallığı yaratır ve boyutsal Geliş tarihi: 10.01.2020 algılama, insanda ses kaynağı konumunun tespitini sağlar. Seste boyutsal Kabul tarihi: 29.01.2020 algılamanın günümüz müzik endüstrisinde bilinen karşılığı genelde teknolojiktir. Kaydedilen müzik mono’dan surround’a kadar çeşitli teknolojik yöntemlerle Atıf bilgisi: işlemden geçirilerek tüketiciye sunulur. Ses kayıt tarihinde bu süreç mono ile 378 IBAD Sosyal Bilimler Dergisi başlayarak günümüzde atmos’a kadar ulaşmıştır. Oysa doğal bir oluşum olan sesteki Sayı: 6 Sayfa: 378-389 boyutsallığın bugün herkes tarafından yukarıdaki terimlerle aranan teknolojik Yıl: 2020 Dönem: Kış halleri, bundan yüzlerce yıl önce batı müziği bağdarlarının bir kısmı tarafından dinleyiciye zaten sunulmaktaydı. 16. yüzyılda Giovanni Gabrieli’nin koroyu ikiye bölerek “cori spezzati” tekniğiyle sunduğu yaratılarında stereo tekniği yatmaktadır. Barok dönemde Vivaldi “per eco in lontano (uzaktaki yankı)” adlı Konçertosuyla This article was checked by Turnitin. ilk surround seslendirme örneklerini sunmuştur. Klasik dönemde Haydn ve Mozart, Similarity Index 04% Romantik dönemde Berlioz ve -
THE UC DAVIS DEPARTMENT of MUSIC PRESENTS the UC Davis
THE UC DAVIS DEPARTMENT OF MUSIC PRESENTS THE UC Davis Gamelan Ensemble Henry Spiller, director ‐‐‐ PROGRAM Jipang Lontang trad. Galatik Mangut A. Idi Jeruk Bali Djai Ladrak trad. Lutung Bingung A. Absar Kunang‐kunang ("Oray‐orayan") trad. ‐‐‐ 12:05 pm, Tuesday, 2 March 2010 Room 115, Music Building [INSERT STANDARD “QUIET” TEXT.] This performance is made possible in part by the generous support from the Joy S. Shinkoskey Series of Noon Concerts endowment. NOTES Introduction: Indonesia is a nation with 13,000 islands (of which a few thousand are populated), the fourth largest population in the world, and hundreds of ethnic groups and languages. Indonesia's second largest ethnic group is the Sundanese; approximately 30 million Sundanese speakers dominate the modern province of West Java. Sundanese people look back to the medieval West Javanese kingdom of Pajajaran (1333–1579) as a homeland and for the roots of Sundanese culture. Stories and cultural images have developed a romanticized vision of Pajajaran as a mystical, ethical utopia of great natural beauty and its rulers as models of wisdom and power; the memory of Pajajaran inspires modern Sundanese people to maintain a strong Sundanese identity. While the majority of the Sundanese population still lives in rural or semi‐rural settings, large cities and the cosmopolitan culture they nurture have become an increasingly important element of Sundanese lives. Gamelan Degung: The term gamelan refers to matched sets of instruments (primarily tuned bronze percussion instruments) that are unified by appearance, manufacture, tuning, and other characteristics. Each gamelan is unique. The gamelan ensemble known as degung (or gamelan degung) consists of hanging bronze gongs, gong chimes, metallophones, drums, and suling (bamboo flute) tuned to a pentatonic scale. -
January 19, 2020 Luc De Wit 3:00–4:40 PM
ALBAN BERG wozzeck conductor Opera in three acts Yannick Nézet-Séguin Libretto by the composer, based on the production William Kentridge play Woyzeck by Georg Büchner co-director Sunday, January 19, 2020 Luc De Wit 3:00–4:40 PM projection designer Catherine Meyburgh New Production set designer Sabine Theunissen costume designer Greta Goiris The production of Wozzeck was made possible lighting designer Urs Schönebaum by a generous gift from Robert L. Turner A co-production of the Metropolitan Opera; Salzburg Festival; the Canadian Opera Company, Toronto; and Opera Australia general manager Peter Gelb jeanette lerman-neubauer music director Sunday matinee performances at the Met are Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 75th Metropolitan Opera performance of ALBAN BERG’S wozzeck conductor Yannick Nézet-Séguin in order of vocal appearance the captain the fool Gerhard Siegel Brenton Ryan wozzeck a soldier Peter Mattei Daniel Clark Smith andres a townsman Andrew Staples Gregory Warren marie marie’s child Elza van den Heever Eliot Flowers margret Tamara Mumford* puppeteers Andrea Fabi the doctor Gwyneth E. Larsen Christian Van Horn ac tors the drum- major Frank Colardo Christopher Ventris Tina Mitchell apprentices Wozzeck is stage piano solo Richard Bernstein presented without Jonathan C. Kelly Miles Mykkanen intermission. Sunday, January 19, 2020, 3:00–4:40PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Berg’s Wozzeck Video Control Kim Gunning Assistant Video Editor Snezana Marovic Musical Preparation Caren Levine*, Jonathan C. Kelly, Patrick Furrer, Bryan Wagorn*, and Zalman Kelber* Assistant Stage Directors Gregory Keller, Sarah Ina Meyers, and J. -
Music and Theatre in Eastern Europe: Understanding Historical Perspectives and Igniting Passion
Music and Theatre in Eastern Europe: Understanding Historical Perspectives and Igniting Passion January 7 – January 31, 2016 Hosted by Dr. Scott Johnson, Jayna Gearhart Fitzsimmons and Brad Heegel Program Inclusions v Experience the musical enrichment and fellowship traveling as part of a community under the leadership of Dr. Scott Johnson, Co-Chair of the College Department of Music who is both an accomplished musician and mentor; Jayna Gearhart Fitzsimmons, artistic director and experienced director of theater and Brad Heegel, Administrative Director of Performing and Visual Arts at Augustana who is both a seasoned traveler and energetic lead organizer for this program. v Be inspired by the culture and art of the Czech Republic with Prague’s royal palaces and museums; the beauty and music of Austria with the Vienna Boys Choir and Opera Houses; the grace and history of Slovakia with it’s amazing Slovak National Theatre; the vibrancy and heritage of Hungary in Budapest with collections of Art Nouveau and gypsy music; and lastly the history and open arms of Croatia in the town of Zagreb. v Attend eight concerts/performances and visit over forty famous sights and theatres in Europe. v Travel from Sioux Falls with connecting service into Prague and from Zagreb via United Airlines, Lufthansa Airlines and Croatian Airlines. v Stay for twenty-three nights in select Moderate First Class hotels described in the itinerary or similar, based on sharing a room. v Journey throughout Europe by private, deluxe motorcoach for all transfers and touring or by 2nd class rail. v Enjoy included daily buffet breakfast and six dinners. -
Austria & Hungary
AUSTRIA & HUNGARY June 17 -23 2018 A UNIQUE PERSPECTIVE OF THE MUSICAL, CULTURAL AND HISTORICAL HERITAGE OF VIENNA AND BUDAPEST Most of us have been to Austria and Hungary of course. But this Jaderin tour to Vienna, Eisenstadt, Graz, Salzburg and Budapest will be one with a big difference. We will be led by Maestro Mak Ka Lok who had studied, lived and actively conducted all over Austria, Russia and other parts of Europe for 30 years. The Maestro will be returning to Vienna in June with the Global Symphony Orchestra of Hong Kong, to receive the prestigious Austria Music and Theatre award for his contribution in music between Austria and China/Hong Kong. He will share his passion for music and the places he called home for many years on this special Jaderin tour covering Vienna : The beautiful capital of Austria that inspired so many composers. The visit includes the most celebrated river in Europe, Danube River,” the Wachau”, the Schönbrunn Palace where Mozart performed when he was a child. Enjoy an opera at the Vienna State Opera House Salzburg : In visiting the birthplace of Mozart, we will pass by the beautiful lake region “Salzkammergut” Eisenstadt : Pay homage to Haydn Graz: Attend Maestro’s Mak’s special “Austrian Music Theater Award” ceremony at the Opera House in Graz Budapest : Vienna and Budapest were the capitals of the Austrian Hungarian Empire from 1867 to 1918. Not only will you visit the Hungarian capital’s modern and historical sites, you will also ‘feel’ the flavors of Hungary, and taste authentic Hungarian Goulash.