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IMAGO MUSICAE Edenda Curavit Björn R
International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale XXIX Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Founded by the International Repertory of Musical Iconography (RIdIM) IMAGO MUSICAE Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX INSTITUT FÜR KUNST- UND MUSIKHISTORISCHE FORSCHUNGEN Österreichische Akademie der Wissenschaften Wien CENTRE D’ÉTUDES SUPÉRIEURES DE LA RENAISSANCE ISSN • 0255-8831 Université François-Rabelais de Tours € 80.00 ISBN • 978-7096-897-2 LIM Libreria•Musicale•Italiana Centre National de la Recherche Scientifique, UMR 7323 IMAGO MUSICAE International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX Libreria•Musicale•Italiana Founded by the International Repertory of Musical Iconography (RIdIM) Graphic design and Layout: Vincent Besson, CNRS-CESR ISSN: 0255-8831 ISBN: 978-88-7096-897-2 © 2017, LIM Editrice, Lucca Via di Arsina 296/f – 55100 Lucca All rights reserved – Printed in -
Mozart's Scatological Disorder
loss in this study, previous work has been descriptive Our study shows that there is a potential for hearing in nature, presenting the numbers of cases of hearing damage in classical musicians and that some form of loss, presumed to have been noise induced orcomparing protection from excessive sound may occasionally be hearing levels with reference populations.'7-8 Both needed. these descriptive methods have shortcomings: the former depends on the definition of noise induced 1 Health and safety at work act 1974. London: HMSO, 1974. 2 Noise at work regulations 1989. London: HMSO, 1989. hearing loss, and the latter depends on identifying a 3 Sataloff RT. Hearing loss in musicians. AmJ Otol 1991;12:122-7. well matched reference population. Neither method of 4 Axelsson A, Lindgren F. Hearing in classical musicians. Acta Otolaryngol 1981; 377(suppl):3-74. presentation is amenable to the necessary statistical 5Burns W, Robinson DW. Audiometry in industry. J7 Soc Occup Med 1973;23: testing. We believe that our method is suitable for 86-91. estimating the risk ofhearing loss in classical musicians 6 Santucci M. Musicians can protect their hearing. Medical Problems ofPerforming Artists 1990;5:136-8. as it does not depend on identifying cases but uses 7 Rabinowitz J, Hausler R, Bristow G, Rey P. Study of the effects of very loud internal comparisons. Unfortunately, the numbers music on musicians in the Orchestra de la Suisse Romande. Medecine et Hygiene 1982;40:1-9. available limited the statistical power, but other 8 Royster JD. Sound exposures and hearing thresholds of symphony orchestra orchestras might be recruited to an extended study. -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
Ten Thousand Things Module and Mass Production in Chinese Art
Ten Thousand Things Module and Mass Production in Chinese Art + The A.W Mellon Lectures in the Fine Arts, 1998. Bollingen Series XXXV. 46 Princeton ----------~----------r--- Mutual combinations of the eight trigrams result in the production of the ten thousand things. -Shao Yong (1011-1077) Outer Chapter on Observation of Things The ten thousand things are produced and reproduced, so that variation and transformation have no end. -Zhou Dunyi (1017-1073) Diagram of the Supreme Ultimate Explained Lothar Ledderose Ten Thousand Things Module and Mass Production in Chinese Art The A. W Mellon Lectures in the Fine Arts, 1998 The National Gallery of Art, Washington, D.C. Bollingen Series XXXV:46 Princeton University Press Princeton, New Jersey Frontispiece Fu Shen (born 1937), Wanwu (Ten Thousand Things), March 1997. Calligraphy. _____________ Contents Copyright © 2000 by the Trustees of the National Gallery of Art, Washington, D.C. Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom : Princeton University Press, Chichester, West Sussex This is the forty-sixth volume of the A. W. Mellon Lectures in the Fine Arts, which are delivered annually at Achnowledgments VI the National Gallery of Art, Washington. The volumes of lectures constitute Number XXX.V in Bollingen Series, sponsored by the Bollingen Foundation. All rights reserved Introduction 1 The System of Script 9 Library of Congress Cataloging-in-Publication Data 2 Casting Bronze the Complicated Way 25 Ledderose, Lothar. Ten thousand things : module and mass production in Chinese art/ Lothar 3 A Magic Army for the Emperor 51 Ledderose. p. cm. -
"Asia and Europe in a Global Context"
Newsletter Autumn 2010 Content News Annual Conference 2010 Summer School 2010 Heinrich Zimmer Chair Prof. Dr. Madeleine Herren-Oesch People Acting Director David Mervart Markus Viehbeck Dear colleagues and friends, Jonathan Samuels the winter term started very well with the Cluster’s carefully prepared Annual Conference: over 200 scholars enjoyed high -level presentations Publications and debated on “The Flow of Concepts and Institutions”. Renowned New Series by Monica Juneja specialists presented their research and the participants shared inspiring Book edited by Axel Michaels thoughts and ideas about new approaches. Graduate students Further Publications contributed to a stimulating and informative poster session, which was highly acclaimed by foreign scholars and Cluster members. Events The Cluster’s Annual Conference presented the ongoing and dynamic Cluster Lecture Series development of its research into transculturality, which attracts young Launch of LONSEA database scholars. In July, the Summer School welcomed 30 young scholars from Workshop in New Delhi all over the world at the Karl Jaspers Centre. Moreover, Cluster conferences were held in the USA, China, Israel and other countries. Next Issue The following pages will illustrate and review the highlights of the last months. For further information concerning the Cluster and its ongoing Date of Publication research, please visit our homepage at www.asia-europe.uni- heidelberg.de Spring 2011 We hope you will enjoy reading this Newsletter. Contact With best regards Press Office Dr. Alexander Häntzschel Phone: +49-6221-54-4008 Fax: +49-6221-54-4012 Mobil : +49-163-730-6940 Prof. Dr. Madeleine Herren-Oesch Dr. Brigitte Merz E-Mail: haentzschel@asia- Acting Director Scientific Project Manager europe.uni-heidelberg.de Cluster of Excellence “Asia and Europe in a Global Context” Newsletter Autumn 2010 ▲ 1/7 Annual Conference 2010 Over 200 Scholars attended the Annual Conference Impressions Prof. -
M I T T E I L U N G S B L a T T
M I T T E I L U N G S B L A T T DER UNIVERSITÄT MOZARTEUM SALZBURG Studienjahr 2020/2021 Ausgegeben am 20.05.2021 41. Stück 78. Kundmachung der Wissensbilanz 2020 der Universität Mozarteum Salzburg _______________________________________________ 78. Kundmachung der Wissensbilanz 2020 der Universität Mozarteum Salzburg Der Universitätsrat hat in seiner Sitzung vom 17.05.2021 die vom Rektorat vorgelegte Wissensbilanz 2020 der Universität Mozarteum Salzburg gemäß § 21 Abs. 1 Z 10 iVm § 13 Abs. 6 UG genehmigt. Die nachfolgende Wissensbilanz 2020 der Universität Mozarteum Salzburg kann zudem unter http://www.uni-mozarteum.at/files/pdf/uni/berichte/wb_2020.pdf eingesehen werden. Rektorat Druck und Verlag: Universität Mozarteum Salzburg Mirabellplatz 1, 5020 Salzburg, Tel. 0662/6198-0 Redaktionsschluss: 20.05.2021 www.moz.ac.at Seite 1 von 1 UNIVERSITÄT MOZARTEUM SALZBURG Wissensbilanz 2020 Für den Inhalt verantwortlich: Rektorat Redaktion: Abteilung für Qualitätsmanagement und Entwicklungsplanung Universität Mozarteum Salzburg Mirabellplatz 1 5020 Salzburg, Austria Tel: +43 662 6198-0 www.uni-mozarteum.at DIE UNIVERSITÄT MOZARTEUM SALZBURG Die Universität Mozarteum Salzburg bietet 82 ordentliche künstlerische und pädagogische Studien aus den Bereichen Musik, Darstellende und Bildende Kunst an. An die 2.000 junge Künstler*innen aus aller Welt erfahren hier eine umfassende Qualifizierung in zahlreichen Instrumentalfächern, in Komposition, Dirigieren, Gesang, Musiktheater, Schauspiel, Regie, Bühnenbild, Kostüm, Ausstellungsarchitektur und Film, Musik- und Tanzpädagogik, Kunst- und Werkpädagogik sowie in Musikpädagogik und Musikwissenschaft. 639 Lehrende, viele davon international renommierte Künstler*innen sowie Expert*innen aus den Bereichen Pädagogik und Wissenschaft, engagieren sich in Forschung, Lehre sowie der Entwicklung und Erschließung der Künste. Zusammen mit den Studierenden und allen Angehörigen der Universität wird auch das Haus selbst in seiner Mission und Ausstrahlung, seinen Möglichkeiten und Potenzialen stetig weiterentwickelt. -
What Motivates Composers to Compose?
University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2014 What Motivates Composers to Compose? Brian Fanning University of New Hampshire - Main Campus Follow this and additional works at: https://scholars.unh.edu/honors Part of the Music Commons Recommended Citation Fanning, Brian, "What Motivates Composers to Compose?" (2014). Honors Theses and Capstones. 160. https://scholars.unh.edu/honors/160 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Brian Fanning 1 What Motivates Composers to Compose? Composers must be motivated in order to produce music. Although the expression of oneself is at the crux of the content of compositions, the idea of the composition in the first place does not necessarily start with motivation. Composers may be commissioned by others, moved to respond to an event or disaster, or motivated strictly monetarily by their employer (either a corporation or royal court, depending on the era). This paper poses the question: What motivates composers to compose? The thesis will be drawn out in two examples: Paul Hindemith’s late sonatas and Wolfgang Amadeus Mozart’s Oboe Quartet in F. The theory of basic desires to motivation proposed by Steven Reiss will be used to explain each of the composers’ desires to compose. Paul Hindemith (1895–1963) was born in Hanau, Germany which is near Frankfurt. -
Buddhism and the Dynamics of Transculturality Religion and Society
Buddhism and the Dynamics of Transculturality Religion and Society Edited by Gustavo Benavides, Frank J. Korom, Karen Ruffle and Kocku von Stuckrad Volume 64 Buddhism and the Dynamics of Transculturality New Approaches Edited by Birgit Kellner ISBN 978-3-11-041153-9 e-ISBN (PDF) 978-3-11-041308-3 e-ISBN (EPUB) 978-3-11-041314-4 ISSN 1437-5370 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. For details go to: https://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019941312 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Birgit Kellner, published by Walter de Gruyter GmbH, Berlin/Boston This book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and binding: CPI books GmbH, Leck www.degruyter.com Contents Birgit Kellner 1 Introduction 1 Ingo Strauch 2 Buddhism in the West? Buddhist Indian Sailors on Socotra (Yemen) and the Role of Trade Contacts in the Spread of Buddhism 15 Anna Filigenzi 3 Non-Buddhist Customs of Buddhist People: Visual and Archaeological Evidence from North-West Pakistan 53 Toru Funayama 4 Translation, Transcription, and What Else? Some Basic Characteristics of Chinese Buddhist Translation as a Cultural Contact between India and China, with Special Reference to Sanskrit ārya and Chinese sheng 85 Lothar Ledderose 5 Stone Hymn – The Buddhist Colophon of 579 Engraved on Mount Tie, Shandong 101 Anna Andreeva 6 “To Overcome the Tyranny of Time”: Stars, Buddhas, and the Arts of Perfect Memory at Mt. -
Representing Classical Music to Children and Young People in the United States: Critical Histories and New Approaches
REPRESENTING CLASSICAL MUSIC TO CHILDREN AND YOUNG PEOPLE IN THE UNITED STATES: CRITICAL HISTORIES AND NEW APPROACHES Sarah Elizabeth Tomlinson A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2020 Approved by: Chérie Rivers Ndaliko Andrea F. Bohlman Annegret Fauser David Garcia Roe-Min Kok © 2020 Sarah Elizabeth Tomlinson ALL RIGHTS RESERVED ii ABSTRACT Sarah Elizabeth Tomlinson: Representing Classical Music to Children and Young People in the United States: Critical Histories and New Approaches (Under the direction of Chérie Rivers Ndaliko) In this dissertation, I analyze the history and current practice of classical music programming for youth audiences in the United States. My examination of influential historical programs, including NBC radio’s 1928–42 Music Appreciation Hour and CBS television’s 1958–72 Young People’s Concerts, as well as contemporary materials including children’s visual media and North Carolina Symphony Education Concerts from 2017–19, show how dominant representations of classical music curated for children systemically erase women and composers- of-color’s contributions and/or do not contextualize their marginalization. I also intervene in how classical music is represented to children and young people. From 2017 to 2019, I conducted participatory research at the Global Scholars Academy (GSA), a K-8 public charter school in Durham, NC, to generate new curricula and materials fostering critical engagement with classical music and music history. Stemming from the participatory research principle of situating community collaborators as co-producers of knowledge, conducting participatory research with children urged me to prioritize children’s perspectives throughout this project. -
Wolfgang's “Angels”: Two New Publications on Maria Anna Von Berchtold Zu Sonnenburg (Née Mozart) and Constanze Nissen
Wolfgang’s “Angels”: Two New Publications on Maria Anna von Berchtold zu Sonnenburg (née Mozart) and Constanze Nissen (Widowed Mozart) Elisabeth Hilscher All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 21/04/2020 Accepted: 05/08/2020 Institution (Elisabeth Hilscher): Austrian Academy of Sciences, Austrian Centre for Digital Humanities and Cultural Heritage, Department of Musicology Published: 05/11/2020 Last updated: 05/11/2020 How to cite: Elisabeth Hilscher, “Wolfgang’s “Angels”: Two New Publications on Maria Anna von Berchtold zu Sonnenburg (née Mozart) and Constanze Nissen (Widowed Mozart),” Musicologica Austriaca: Journal for Austrian Music Studies (November 05, 2020) Tags: 18th century; 19th century; Biographical studies; Denmark; Gender; Mozart, Constanze; Mozart, Maria Anna; Musical life; Salzburg; Society; Socio-cultural studies; Vienna; Women's musical history Maria Anna Mozart: Facetten einer Künstlerin ed. by Eva Neumayr Vienna: Hollitzer, 2019 (Schriftenreihe des Archivs der Erzdiözese Salzburg 20) 308 pp., € 45.00, ISBN 978-3-99012-561-8 http://www.hollitzer.at/wissenschaft/programm/produktdetail/programm/schriftenreihe-des-archiv s-der-erzdioezese-salzburg/produkt/maria-anna-mozart-facetten-einer-kuenstlerin.html Constanze Mozart: Eine Biographie by Viveca Servatius, trans. by Krister Hanne Vienna: Böhlau, 2018 653 pp., €39.99, ISBN 978-3-205-20596-8 https://www.vandenhoeck-ruprecht-verlage.com/themen-entdecken/literatur-sprach-und-kulturwi ssenschaften/sprach-und-literaturwissenschaften/literaturwissenschaft- -
Lvf PUBLICATIONS
Lothar von Falkenhausen PUBLICATIONS (as of October 2015) Books: Luo Tai fangtanji 羅泰訪談集 (Collected Interviews with Lothar von Falkenhausen), Meng Fanzhi 孟繁之 (ed.) Taiyuan: Shanxi Meishu Chubanshe, forthcoming 2016. Chinese Society in the Age of Confucius (1000-250 BC): The Archaeological Evidence. Los Angeles: Cotsen Institute of Archaeology, UCLA, 2006. Shū dai Chūgoku no shakaikōkogaku kenkyū 周代中国の社会考古学研 究 [Social-Archaeological Studies of Zhou period China] (Japanese version of Chinese Society in the Age of Confucius, Yoshimoto Michimasa 吉本道雅 [tr.]). Kyōto: Kyōto Daigaku Shuppankai, 2006. Gogohak jeungkeoro bon Gongjasidae Jungguk sahwi (Korean translation of Chinese Society in the Age of Confucius, Shim Jae-hoon 沈載勳 [tr.]) Hanguk Yeongu Jaedan, Haksul mingjeo peonyeok jongseo, Dongyang pyeon 韓國研究 財團,學術名著翻譯叢書,東洋篇 501. Seoul: Sechang Chulpansa, 2011. Chinese translation, Shanghai: Shanghai Guji Chubanshe, forthcoming 2016. Suspended Music: Chime-Bells in the Culture of Bronze Age China. Berkeley and Los Angeles: University of California Press, 1993. Shorter Monographs: Klangvorrat für die Nachwelt: Neun chinesische Bronzeglocken der Sammlung Peter und Irene Ludwig. Museum für Ostasiatische Kunst, Köln. Heidelberg: Kehrer, 2000. Probleme der Koreanischen Frühgeschichte , OAG aktuell Nr.29, Tōkyō (Deutsche Gesellschaft für Natur- und Völkerkunde Ostasiens [OAG]), 1987. Edited Volumes: World Antiquarianism (co-editor, with Alain Schnapp, Peter Miller, and Tim Murray), Los Angeles: Getty Research Institute Press, 2013. (French translation in progress.) Ancient Salt Production and Landscape Archaeology in the Upper Yangzi Basin: The Site of Zhongba in Perspective / Changjiang shangyou de gudai yanye yu Zhongba yizhi de kaogu yanjiu 長江上游的古代鹽業與中壩遺址的考古研究 (editor, with Li Shuicheng 李⽔城). Salt Archaeology in China / Zhongguo yanye kaogu 中國鹽業考古, v. -
Mozart's Amazing Musical Achievement
entire piece of music from beginning to end. Then, all that was required was for him to write it down. Others said that Mozart was so gifted that he never had Mozart’s Amazing to revise or correct his compositions once they were committed to paper. Musical Achievement However, Phil Grabsky, director of the film In Search of Mozart, thinks there Wolfgang Amadeus Mozart is consid- was more to Mozart than musical su- ered one of the greatest composers. perpowers. Born in 1756 in Salzburg, in what is now “What the characters we sometimes the country of Austria, Mozart was only call geniuses have in common is drive 35 years old when he died. However, the and determination, often good parent- music he wrote in his short life contin- ing, and the fact that they are products ues to inspire people today. One of the of the social conditions of their time,” most notable facts about Mozart’s mu- Grabsky explains. “All of this was true sic is its diversity. While most compos- for Mozart. His talent wasn’t simply a ers specialize in one particular musical gift from God, it was the result of tre- form, such as symphony or opera, Mo- mendously hard work.” zart mastered all of the forms of his day. “Mozart saw himself as a practical The opera The Magic Flute, the “Jupiter” worker,” says Nicholas Kenyon, the au- Symphony, and the chamber composi- thor of A Pocket Guide to Mozart. It was tion Eine kleine Nachtmusik (“A Little later composers who “perpetuated this Night Music”) are each still considered idea that he composed thoughtlessly, masterworks of their form.