Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Gould's History of Freemasonry
GOULD'S HISTORY OF FREEMASONRY THROUGHOUT THE WORLD VOLUME III From a photograph by Underwood and Underwood . King Gustav of Sweden . From the painting by Bernhard Osterman . .o .o.o.o.o .o .o .o .o .o .o .o .o .o.o 0 0 0 Eas 0 xxo~ m~N o En o SNOS S,2i3[~I8I2iDS S3ZU 0 ,XHJ o ~y<~~ v o +5 0 0 0 a 0 0 0 0 III 3I~1Ifl 0 ZOn o Eys, 0 0 v v v 4 o~ 0 a ////~I1\`\ •O E 7S, 0 6 0 0 0 0 0 0 0 Ey; 0 v Gl"HOm 9H~L .Lf10HO110UH,L o E-r, v0 0 0 v 0 v IN A 0 s vw a 4 N 0 0 0 40 v E-1 0 A S vs 0 I( I H S~QZ~109 a $ u eee.e.e.e.eee .e.e.ae.a.e.e.e.e.e.e .ese.e.e.e.e.eeeeee <~ .eee0 .e.e.e.eee.e.e.e.e.oee.e .e. v Z/~~Z/~~S?/~~SZ/~~SZ/n~SZ/ti~5?/~~SZh~SZ/~15Z/~~S?h\SZ/,~5?h~S~/n~S?/\5?/~\SZ/n~S?h~S~/n~SZ/n~SZln~?!~~ W` ,~` W~ W~ W~ W` W` W` W` ~W w.! W~ W` i~W rW W` W~ W` wy y uy J1 COPYRIGHT, 1936, BY CHARLES SCRIBNER ' S SONS PRINTED IN THE UNITED STATES OP AMERICA ww •o •o •o ww •oww•o•ow•wo•o w•o •aoww •o•o •o•o•o•o•o •wo •o •owwwww•ow•o www•o• 0 I ° GOULD'S HISTORY OF FREEMASONRY THROUGHOUT THE WORLD REVISED BY DUDLEY WRIGHT EDITOR OF THE MASONIC NEWS THIS EDITION IN SIX VOLUMES EMBRACES NOT ONLY AN Q Q INVESTIGATION OF RECORDS OF THE ORGANIZATIONS OF THE FRATERNITY IN ENGLAND, SCOTLAND, IRELAND, THE BRITISH COLONIES, EUROPE, ASIA, AFRICA AND SOUTH AMERICA, BUT INCLUDES ADDITIONAL MATERIAL ESPE- CIALLY PREPARED ON EUROPE, ASIA, AND AFRICA, ALSO o b CONTRIBUTIONS BY DISTINGUISHED MEMBERS OF THE FRATERNITY COVERING EACH OF THE o FORTY-EIGHT STATES, DISTRICT OF COLUMBIA AND THE POSSESSIONS OF THE b o UNITED STATES 4 4 THE PROVINCES OF CANADA AND THE 4 COUNTRIES OF LATIN AMERICA b UNDER THE SUPERVISION OF 0 MELVIN M. -
The Masonic Collection of the University Library in Poznan
THE MASONIC COLLECTION OF THE UNIVERSITY LIBRARY IN POZNAN Andrzej Karpowicz [email protected] CRFF Working Paper Series No. 6 Mag. Andrzej Karpowicz is Director of the masonic collections of the Uni- versity library of Poznan in Poland. He is founding member of AMMLA, the Association of Masonic Museums, Libraries and Archives in Europe. For contacts with the university library, see http://lib.amu.edu.pl/specjalne/masonbr.htm The catalogue is available under http://lib.amu.edu.pl/ or write to Mgr A. Karpowicz Samodzielna Sekcja Zbiorow Masonskich Biblioteka Glowna UAM ul. Ratajczaka 38/40 PL-61.816 Poznan Poland CENTRE FOR RESEARCH INTO FREEMASONRY AND FRATERNALISM University of Sheffield, United Kingdom 34, Gell Street Sheffield S3 7QY Phone: +44-(0)114- 222 98 90 Fax: +44-(0)114- 222 98 94 Email: [email protected] URL: www.freemasonry.dept.shef.ac.uk CRFF Working Paper Series is published by Centre for Research into Freemasonry and Fraternalism (CRFF) at the University of Sheffield. ! 2009 Andrzej Karpowicz, and CRFF Editor: Andreas Önnerfors Layout: Andreas Önnerfors ISSN: 1756-7645 CRFF Working Paper Series No. 6 Andrzej Karpowicz THE MASONIC COLLECTION OF THE UNIVERSITY LI- BRARY IN POZNAN The activity of Freemasonry was appropriately matched and accom- panied by a significant development of Masonic writings. The grow- ing number of publications was recorded by and reflected in basic bibliographies of Freemasonry1. This literature constituted the core of the collections in libraries of Masonic lodges. According to the esti- mates given by the German Museum of Freemasonry in Bayreuth, round about the year 1930, all Masonic collection in Germany put together amounted to 200,000 library units2. -
Celebrating the Habsburgs in the Hungarian National Theater, 1837–67
Celebrating the Habsburgs in the Hungarian National Theater, 1837–67 Lili Veronika Békéssy All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 29/08/2019 Last updated: How to cite: Lili Veronika Békéssy, “Celebrating the Habsburgs in the Hungarian National Theater, 1837–67,” Musicologica Austriaca: Journal for Austrian Music Studies ( ) Tags: 19th century; Budapest; Erkel, Ferenc; Franz Joseph I; Habsburg; Hungarian National Theater; Imperial visit 1857; Pest-Buda; Pesti Nemzeti Színház; Playbills; Representation This study was written with the support of the Országos Tudományos Kutatási Alapprogramok (Hungarian Scientific Research Fund), as part of the research program entitled “Erkel Ferenc és műhelye” (“Ferenc Erkel and his Workshop”) (OTKA K112504). The project was conducted at the the MTA BTK Zenetudományi Intézet Magyar Zenetörténeti Osztály (Hungarian Academy of Sciences Research Centre for the Humanities, Institute for Musicology, Department for Hungarian Music). Abstract The musical theater had a central intermediary role in the propagation of national consciousness throughout East-Central Europe in the nineteenth century, and so too in Hungary. The Pesti Magyar Színház (Pest Hungarian Theater) (which was renamed after 1840 to Magyar Nemzeti Színház [Hungarian National Theater]) had an identical repertoire to that in all the Habsburg Empire, following a tradition inherited from the German-language theaters. The festive performances of the institution on occasions of political representation -
From Periphery to Centre.The Image of Europe at the Eastern Border of Europe
Munich Personal RePEc Archive From Periphery to Centre.The Image of Europe at the Eastern Border of Europe Şipoş, Sorin and Moisa, Gabriel and Cepraga, Dan Octavian and Brie, Mircea and Mateoc, Teodor University of Oradea, Romania, University of Padova, Italy 2014 Online at https://mpra.ub.uni-muenchen.de/59276/ MPRA Paper No. 59276, posted 15 Oct 2014 12:04 UTC Edited by: Sorin Şipoş, Gabriel Moisa, Dan Octavian Cepraga, Mircea Brie, Teodor Mateoc From Periphery to Centre. The Image of Europe at the Eastern Border of Europe Editorial committee: Delia-Maria Radu Roxana Ivaşca Alexandra Bere Ionuţ Ciorba CONTENTS Sorin ŞIPOŞ, Dan Octavian CEPRAGA, From Periphery to Centre. The Image of Europe at the Eastern Border of Europe ………..………..… 5 I. PERIPHERY VIEWED FROM THE CENTRE …………………..… 13 Lorenzo RENZI, «Terra Romena» ……………………………………..… 15 Ion Alexandru MIZGAN, The Crusades – Cause of Tension between Eastern and Western Europe ………………………………………...…..…21 Florin DOBREI, Transylvanian “Schismatics”, “Heretics” and “Infidels” in the Vision of 13th-16th Century Catholic Europe ……………………..… 47 Ioan-Aurel POP, 16th Century Venetian Bailiffs‟ Reports on Realities in the Ottoman Empire …………………………………………………..… 61 Ion EREMIA, A False Theory Still Persists at the Eastern Border of Latinity .. 76 Delia-Maria RADU, From Centre to the Periphery and the Other Way Round ………………………………………………………..……..… 88 Teodor MATEOC, Identity and Race. The Problem of Otherness in Contemporary Cultural Studies …………………………………...……..…96 II. SELF-IMAGES AT EUROPE’S EASTERN BORDERS -
Peasant Dance Traditions and National Dance Types in East-Central Europe in the 16Th-19Th Centuries*
Peasant Dance Traditions and National Dance Types in East-Central Europe in the 16th-19th Centuries* Gyorgy Martin Martin, Gyiirgy 1985: Peasant Dance Traditions and National Dance Types in East-Central Europe in the 16th-19th Century. - Ethnologia Europaea XV: 117-128 The author analyses the interrelation between elite culture and popular culture as it appears in the modern history of East Central European folk dances. Ac cording to his opinion, differences among popular dance traditions of various zones in Europe reflect phase shifts in the historic development: some regions preserved medieval and renaissance dance forms while other regions adopted more modern styles. In contrast to the spread of courtly and elite dance forms among the common people, the appearence of "national dance types" represents the conscious incorporation of peasant dance traditions into the national culture. In the 16th-17th century the Hajdu (Heyduck) dance might be considered as an early forerunner of these "national dance types". Originally a weapon-dance of herdsmen and soldier-peasants , this dance acquired a sort of national signifi cance during the centuries of war against the Turks and was practised in all layers of contemporary society . Later in the 19th century, during the era of na tional awakening, the creation of "national dance types" was guided by national ideologies and followed a remarkably similar pattern among Hungarians, Slov aks and Transylvanian Roumanians. The late Dr. Gyorgy Martin (1932-1983) was head of the Folk Dance Department of the Institute of Musicology, Hungarian Academy of Sciences , Budapest . The focus of this discussion is the relationship cient and complex manifestation of total art between folk culture and high culture, be ("Gesamtkunst"). -
Mary Taylor: the Hungarian Dance-House Movement
Ninteeenth and Twentieth Century Historical and Institutional Precedents of the Hungarian Dance-House Movement Mary Taylor .................................................................................. CUNY Graduate Center The Institute of Ethnology of the [email protected] Hungarian Academy of Sciences and The Hungarian Heritage House Advisers: Mr. Ferenc Sebo˝ and Ms. Ágnes Fülemile .................................................................................. This paper seeks to lay out a broad history of the latest wave of folk revival in Hungary, the Tanchaz (Dance-house) Movement. In order to do so, It will examine the engagement with folk forms by the (mostly urban) elite and the academy in connection with nation- building/nationalism in 19th and 20th century Hungary; the rise of specific institutions and practices connected with Hungarian folk culture and their continuity or discontinuity over time; the sudden territorial and population shift that would leave a legacy of ethnographic and folkloristic material covering a territory much larger than the truncated Hungarian state that emerged in 1920 from the treaty of Trianon; and the specific conditions preceding the tanchaz movement and in which it arose. Focusing on the Bouquet of Pearls Movement of the 1930’s and 1940’s as an institution connected to folklorism and nationmaking, the paper reveals both continutities and discontinuities with theTanchaz Movement that would aries in the 1970’s. After a brief survey of the emergence of Tanchaz, the paper ends with suggestions for further research. 95 Student Conference 2004 Introduction This paper in progress seeks to explore a martial law following the 1848 revolution, broad history of the latest wave of folk that Hungary would once again gain gover- revival in Hungary, the Tanchaz (Dance- nance of the territory of historic Hungary . -
CASTRUM BENE” Permanent Committee and Editorial Board
“CASTRUM BENE” Permanent Committee and Editorial Board PhDr. Peter BEDNÁR, CSc. Archeologický ústav SAV, Nitra (Slovakia) Dr Artur BOGUSZEWICZ, Lecturer Uniwersytet Wrocławski, Wydział Nauk Historycznych i Pedagogicznych, Katedra Etnologii i Antropologii Kulturowej, Wrocław (Poland) Ing. Arch. Petr CHOTĚBOR, CSc. Odbor památkové péče, Kancelář prezidenta republiky, Praha – Hrad (The Czech Republic) Dr. György DOMOKOS Österreichisches Staatsarchiv, Ungarische Archivdelegation, Ständige Archivdelegation beim Kriegsarchiv Wien (representing Hungary) Assoc. Prof. Dr. Istvan FELD Eötvös Loránd Tudományegyetem Bölcsészettudományi Kar, Régészettudományi Intézet, Budapest (Hungary) Mag. Dr. Martin KRENN Bundesdenkmalamt, Abteilung für Archäologie, Krems an der Donau (Austria) Dr. Sc. Tajana PLEŠE Hrvatski restauratorski zavod, Služba za arheološku baštinu, Odjel za kopnenu arheologiju, Zagreb (Croatia) Assoc. Prof. Dr. Katarina PREDOVNIK Univerza v Ljubljani, Filozofska fakulteta, Oddelek za arheologijo, Ljubljana (Slovenia) Dr. Adrian Andrei RUSU Institutul de arheologie şi istoria artei al Academiei Române, Cluj-Napoca (Romania) CASTRUM BENE 12 THE CASTLE AS SOCIAL SPACE Edited by Katarina Predovnik Ljubljana 2014 THE CASTLE AS SOCIAL SPACE Monograph Series, no.: Castrum Bene, 12 Editor: Katarina Predovnik Reviewers: Dr Tomaž Lazar, Mag Tomaž Nabergoj, Dr Miha Preinfalk, Dr Benjamin Štular Proofreading: Katarina Predovnik Technical Editor: Nives Spudić ©University of Ljubljana, Faculty of Arts, 2014 All rights reserved. Published by: Znanstvena založba Filozofske fakultete Univerze v Ljubljani (Ljubljana University Press, Faculty of Arts) Issued by: Department of Archaeology For the publisher: Branka Kalenić Ramšak, the dean of the Faculty of Arts Design and layout: Nives Spudić Printed by: Birografi ka Bori d.o.o. Ljubljana, 2014 First edition Number of copies printed: 300 Price: 24.90 EUR CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 930.85(4)(082) 728.81(4)(091)(082) The CASTLE as social space / edited by Katarina Predovnik. -
The Adventure in the Jewish Tavern: on the Theatrical Representation of Jewish and Slavic Music in the First Half of the Nineteenth Century
Min-Ad: Israel Studies in Musicology Online, Vol. 13, 2015-16 David J. Buch - The Adventure in the Jewish Tavern: On the Theatrical Representation of Jewish and Slavic Music in the First Half of the Nineteenth Century The Adventure in the Jewish Tavern: On the Theatrical Representation of Jewish and Slavic Music in the First Half of the Nineteenth Century DAVID J. BUCH Musicologists have only recently investigated the musical representation of Jews on the European stage. With the publication of vocal music from the period of 1788-1807 explicitly representing that of Ashkenazi Jews,1 we now have a small repertory that can serve as a point of reference. While some of this music appears to be caricature rather than an accurate portrayal of Jewish musical practices, such caricature is useful in establishing historical context and in assessing other sources that might represent unacknowledged Jewish stereotypes.2 Examining musical theater that purports to represent Jews and their music brings clarity to speculation about putative “hidden” Jewish music in both eighteenth- and nineteenth-century opera, a clarity missing from accounts of German opera from Haydn to Wagner. Although almost entirely forgotten, Petr Semenov’s one-act comic opera Приключение в жидовской корчме, или: Удача от неудачи experienced a long run in Russia, Ukraine, Poland, and German-speaking lands (1817-1856), first in its original Russian (St. Petersburg, Malyj Theater, 1817) and then in Rafael Zotov’s German translation as Das Abendtheuer in der Judenschenke oder Gewin durch Verlust (Adventure in the Jewish Tavern or Profit Through Loss [St. Petersburg, Malyj Theater 1819]). -
Volume 58, Number 01 (January 1940) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1940 Volume 58, Number 01 (January 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 01 (January 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/265 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. January THE ETUDE 1940 Price 25 Cents music mu — 2 d FOR LITTLE TOT PIANO PLAYERS “Picuurl cote fa-dt Wc cocUcUA. Aeouda them jot cJiddA&i /p ^cnJUni flidi ffiTro JEKK1HS extension piano SHE PEDAL AND FOOT REST Any child (as young as 5 years) with this aid can 1 is prov ided mmsiS(B mmqjamflm® operate the pedals, and a platform Successful Elementary on which to rest his feet obviating dang- . his little legs. The Qualities ling of Published monthly By Theodore presser Co., Philadelphia, pa. Teaching Pieces Should Have EDITORIAL AND ADVISORY STAFF THEODORE PRESSER CO. DR. JAMES FRANCIS COOKE, Editor Direct Mail Service on Everything in Music Publications. TO PUPIL Dr. Edward Ellsworth Hipsher, Associate Editor /EDUCATIONAL POINTS / APPEALING William M. Felton, Music Editor 1712 Chestnut Street, Philadelphia, Pa. -
List of Notable Freemasons List of Notable Freemasons
List of notable freemasons ---2-222---- • Wyatt Earp , American Lawman. • Hubert Eaton , American chemist, Euclid Lodge, No. 58, Great Falls, Montana . • John David Eaton , President of the Canadian based T. Eaton Company . Assiniboine, No. 114, G.R.M., Winnipeg. • Duke of Edinburgh, see Prince Philip , For Prince Philip • Prince Edward, Duke of Kent , (Prince Edward George Nicholas Paul Patrick), member of the British Royal Family, Grand Master of the United Grand Lodge of England , member of various lodges including Grand Master's Lodge No 1 and Royal Alpha Lodge No 16 (both English Constitution). • Prince Edward, Duke of York and Albany (25 March 1739 – 17 September 1767), Younger brother of George III of the United Kingdom. Initiated in the Lodge of Friendship (later known as Royal York Lodge of Friendship) Berlin, Germany on July 27, 1765. • Edward VII , King of Great Britain . • Edward VIII , King of Great Britain . • Gustave Eiffel , Designer and architect of the Eiffel Tower. • Duke Ellington , Musician, Social Lodge No. 1, Washington, D.C., Prince Hall Affiliation • William Ellison-Macartney , British politician, Member of Parliament (1885–1903), Grand Master of Western Australia . • Oliver Ellsworth , Chief Justice of the United States (1796–1800) . • John Elway , Hall of Fame Quarterback for Denver Broncos (1983–1998), South Denver- Lodge No. 93, Denver, Colorado . • John Entwistle , Rock and Roll Hall of Fame Member of the Who . • David Erskine, 11th Earl of Buchan , Scottish socialite, Grand Master of Scotland (1782–1784). • Thomas Erskine, 6th Earl of Kellie , Scottish musician, Grand Master of Scotland (1763–1765. • Sam Ervin , US Senator. • Ben Espy , American politician, served in the Ohio Senate. -
Cinema Ritrovato Di Gian Luca Farinelli, Vittorio Martinelli, Nicola Mazzanti, Mark-Paul Meyer, Ruud Visschedijk
Cinema Ritrovato di Gian Luca Farinelli, Vittorio Martinelli, Nicola Mazzanti, Mark-Paul Meyer, Ruud Visschedijk Iniziamo dalla foto che abbiamo scelto per il manifesto, perché è un’immagine rivelatrice dell’identità di questo festival. Ad un primo sguardo non suscita un interesse particolare. È la foto di scena di un film qualsiasi prodotto in un periodo in cui di cinema se ne faceva tanto, un’immagine come tante. Però se la guardiamo meglio vediamo che al centro della foto c’è uno dei grandi attori del cinema italiano, Aldo Fabrizi, il Don Pietro di Roma città aperta, alle prese con la giustizia. Ci accorgiamo anche che il set è il lato sud di Piazza Maggiore; si scorgono il Palazzo del Podestà, San Petronio, il Nettuno, Palazzo de’ Banchi. L’immagine inizia a intrigarci. Siccome il cinema italiano è da sempre fortemente romano, pochissimi sono stati i film girati a Bologna, almeno sino agli anni ’60. Ecco perché Hanno rubato un tram, il film da cui abbiamo sottratto quest’immagine, è una vera scoperta che ci giunge dal passato. Nonostante si tratti di una piccola produzione, di un film modesto, di cui all’epoca nessuno si accorse, poterlo vedere oggi è un’esperienza straordinaria perché ci porta nella Bologna di quarantasei anni fa e ci fa sentire tutta la distanza del tempo, le dimensioni della trasformazione, l’ampiezza dei cambiamenti, esperienza tanto più forte perché si tratta di immagini inaspettate di un film dimenticabile, che nessuno vedeva più da decenni. Il film è anche un curioso incontro tra generazioni diverse del cinema italiano.